S/till T/rying

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Everything posted by S/till T/rying

  1. OK then, so at the technique/early stage, it is closer to 80% left hand. (well? THAT's something isn't it? and is it such a short stage?) and in the music stage, closer to 90% right hand. (but that is an enviable stage to get to, the hard work is already over isn't it?) And the brain? Yes, that is always in very high demand. It's the main thing.
  2. Isn't it the training of the left hand? It's only when you have that, and to the degree that you have it, that you can turn your attention partly to problems and technique and practice with the right hand, isn't it? Similarly to the breathing and bending the knees or what have you, darting about, smiling, dancing, dressing up, advertising etc etc. But isn't it 90% the left hand, and the first 90% at that? How could anyone possibly divert ones attention to almost anything else? OK, so the right hand can be thought about once you HAVE the notes ready to bring out. Then, you have to have the vehicle of the right hand to bring it out well. THEN comes the rest. The breathing, the showmanship etc. OK, so maybe the breathing is for added focus, once you have it all ready to be played with speed etc. Then the bending of the knees (I'm being a bit funny here! I mean dancing, smiling etc), when you want to unite body and soul together, but that is only when you can already pour out your soul into the violin, having perfected the technique. Am I right? Or should it all be in the opposite order?
  3. http://www.violinmastery.com/kreutzer.htm this is a link from the homepage. See caprices there, too. Has anyone heard of all this? Indeed a student of Milstein, and a known soloist in his own right! sounds great doesn't it? Anyone know anything, or have heard of Clayton Haslop?
  4. To Ken Nielson Very funny (that is). How can such a thing be? And yet there are so many visitors the whole time. So what else do you know? where do people post? Actually, Ken (editing now) I don't really understand what you are saying. Yes, I re-joined this forum on May the 23rd 2006, and there are new posts almost every day...if you see the dates of the postings. But, not very many, however.
  5. quote: Originally posted by: yuen "the square note" is a guiding note. It is to be stopped by the finger but not played. (See p.14, String builder by Samuel Applebaum.) Is this the information you are looking for?[/img] YES! THANKS Yuen! I tried it and it fits in well with what you explained! It's simply telling you to have it stopped ready for what's coming up. I never knew that. Oh yes! so even for harmonics it looks a bit similar to this, and means the same thing (to stop but not play).
  6. quote: Originally posted by: bapiano I am a piano player and I have never seen little squares in in the multitudes of pieces I have played. I would suggest going to the least edited source possible (Urtext) to learn the pieces and then perhaps study editions by great violinists to get there opinions. Do you have a teacher or coach/adviser who might help you? Indeed, there are no boxes in my urtext edition (henle verlag). I am also a piano player as well, and these little boxes don't seem to be a way of writing in any piano music I ever remember seeing. At the moment I am not going to a regular teacher, so I thought it easier to ask here, than to bother someone on the phone with such questions. (If I would, I have other questions, but this one here should be a simple question for many people who read this forum).
  7. Well? I mean, a few years back, this forum was very active and by now there would have been quite a few replies to this, and atleast two or three directly answering my problem. And now? Is it normally this quiet these days? (I admit I myself haven't been on here too often recently, but surely others are active, and I thought, would have been increasing with time.
  8. quote: Originally posted by: realviolinilover Any comments? Every violinist has their own interpretation and message they want to express, and she certainly has that. If I listened to it many times, I might realize it more and more. But, with the Bazzini, what does she think about the crispy and excitable Heifetz rendition? can she do it like that too (or even better, but in that style)? This is a side question, which interests me, because I like what Heifetz sounds like with this one, although obviously one cannot copy another completely otherwise that would look funny to those who hear both. Besides that, I suppose she must be becoming recognized by now, atleast it would very nice if she was! Any further comments? well, none of the expression and energy and feeling which CAN go inside the violin should be dropped out (maybe it's not).
  9. Can someone explain to me which accentuation system is accepted for Paganinis caprice number 16? It appears that there is more than one opinion/version/option. Is this true? |n one edition, it just has several f's throught the caprice. but in another edition, it has that, but in addition it also has a good few little squares, which I think mean accentuations. Aren't they? If so, do those go together with the "f" signs? or are they either/or? And how are they differentiated (what's the difference in this caprice between the f or the little box?
  10. Probably alot to do with being lucky with posture and structure, too.
  11. The body wasn't exactly designed to accomodate a crappy wooden contraption under your neck, either, was it? So probably, those who don't need shoulder pads or chinrests were probably born with them already there, OR something similar, with which the person is able to work with. I don't know much about cellos, but I wonder if THEY were meant to be played on a stone tile floor with those metal spikes protruding from them. I mean, if you are in tune with your body and cello movements.
  12. Is there a link to this list? Is paganini caprices less than the highest? If not, how about Mozarts violin concerto no 4? Or Beethoven"s, or mendleson"s? Is spring sonata that easy to play properly? Oh! what am I talking about? Of COURSE spring sonata of beethoven is easy!
  13. I think classical music has been in decline since about 1840, after about the time of the industrial revolution.
  14. Wow! I can't complain there is not enough about Menuhin on video searches from Yahoo you tube etc. They have entire concertos! (almost looks like someone stole it and posts it with impunity!) Alot of this was recently put up. I need time, however, to search for all the other artists, if it's there, and then to listen alot.
  15. Must add that too, as well as a few others. It would be nice if there were easy and convenient places to download and hear excerpts (long enough) from these artists, without charge, which complicates things. If anyone knows, would be nice to post! I get the impression that anything long and nice enough to make much sense of, requires all kinds of memberships and credit cards etc.
  16. I think I will have to make a list of all these mentioned in this thread, and get recordings, atleast 2 of each one, and to seriously get familiar with their style so I can clearly see for myself if I think they ought to be the major history in 50 years from now. This post may sound like a personal quip, but in truth, if you think about it, it should be a major food for thought in this whole thread, because whoever takes this seriously (to do like me) will then have their own answers! I will be studying very closely to see if they have some certain ingredients! I will try not to be blown away by purely technical dazzle. Also, no one mentioned that famous Chinese (can't remember name, but she also recorded Paganini caprices). She is technically flawless too, I think. But whilst I appreciate her musical interpretation, and I HAVE read great things about her musicality, that review doesn't yet translate into reality, according to my feelings.
  17. I thought the idea was to play without a chinrest either. Then again, it would be even more getting used to for a man with a beard which goes down and gets caught between under the chin and the top of the violin where the chin clamps it. I mean, wouldn't the violin just simply slip onto the floor almost however strongly you clamped down? Certainly even more experience would be necesary to do all that AND to do it whilst playing descending thirds and all kinds of Paganini-like things. Actually, one piece of advice might be not to try these tricks if you're not prepared to give up paganini. Where do you draw the line?
  18. Well, this must be purely your anatomy and/or that of your violin. (Or MY anatomy and violin, why I can't imagine how it can be done)
  19. He should be paid mainly according to his care and devotion to his non-advanced students. It should not come to more than $15 (between $5-$15) for a 50 minute lesson, (unless he travels to them). He seems to know enough basics (to teach beginners), if he has other teaching qualities too. But as is so often the case today, $45 is over-priced. He is little different to anyone doing some work to earn some money, and good luck to him that he has the violin he can do that with. I see that the first video he took off the air, so I didn't hear that one at all.
  20. THANKS! I was looking for these videos many years with candles! I don't know when they were put on the internet, but I've looked for them on internet too, in the past, and not found them. I have the old book "6 lessons with Yehudi Menuhin". I can already see that it it takes a fraction of the time to work out what he is saying, from the video, as compared with reading his cryptic language from his book. Indeed, any comparison videos would be good to compare with, if anyone else made such descriptive/demonstrative videos! (good for learning how to teach!)
  21. hmmmmm! well, I'm putting quite alot of work into the caprices recently (trying to get it all done once and for all), and it looks to me like the Schrmer edition tends to make alot of (practical) sense. This is a generalization, based on that edition, and the Verlag and ricci, editions as mentioned above. The other two, besides Schirmer, certainly have alot of interesting ideas for reference and choices, and the verlag (with urtext ) edition has quite alot of footnotes about every caprice, and they feel quite strongly about the right fingering and about what the most authentic versions are regarding what Paganini wrote/intended etc. The editor (barberi? or similar) speaks quite strongly about what is right and what is wrong, still, I think I will not be completely gullible to that, and Schirmer is often agreeable with me better, whatever barberi(?) might say. Indeed, Ricci has an extremely opposing view in what I noticed of the bowings in caprice number 14. (i.e. Ricci wants mostly all downbows in all the chords. Probably LOOKS impressive. And barberi/verlag says that it should ALL be alternate bowings, and other editions are "mistaken". (strong language!))
  22. I was delighted to see the free edition as it had the double harmonic variation of no.9, and a few other things similar to my old Schirmer edition which I had lost. So I thank you very much for this. But I also am afraid to say that in the end I found two editions in a local store here in Jerusalem/Israel, so I got both. Schirmer and the edito musica budapest of ricci. This is enough for now. But I don't find everything I was hoping to see, e.g. the other ending of caprice 24, which is rarely heard, but is very nice. Thanks, Omobono, for your help.
  23. Thanks! that should give me enough clues what to search on internet, or elsewhere. I still don't know the differences. But even though it cost money, which I don't have, I MIGHT be tempted to order more than one more edition, because the amount of work I'm putting into learning it, makes it cheap, to buy a few editions, to help me compare/get ideas. Incidentally the Verlag edition does have something written about each caprice. . But I'd be interested in something a little clearer and more things.
  24. I have been under the impression that there might not be anyone who meets some aspects of the standards of the earlier greats. Technicality might go without saying that some sections which in the past were not always performed to perfection, now, it's no great rarity, e.g. the double harmonics of Paganini concerto no 1 last mov. And musicality is sometimes very well worked out and executed (no pun intended, but it might be arguable !!), however real emotional meaning seems to not appear very often anymore, and what is musicality worth if it doesn't grasp the emotions. It can be brilliancy, sad, exulting, heart rending, causing tears, ascetic beauty causing love of g-d, of nature, of people....etc. all these are examples of how musicality should grip emotions, and I feel that today, such expression is short circuited and is not allowed to take place. Or maybe it is actually missing talent today. Great technicality is necessary for this, but I don't think that is what is lacking, it's what is done with it. But, I like this thread and I'm following what people are saying, and it makes me want to hear. I haven't heard too much Hahn, really. Yes, Bell has quite good style, but.......... I don't know, I can't say that anyone is bad. There is also that one who plays Paganini violin concerto for Music Minus One. They seem to hint that he might be as re-incarnation of Paganini. I don't think so, but I can see some qualities. I also wouldn't say that Alexander Markov is all that bad on my new DVD of Paganini caprices (but I hear the feeling better when I'm not watching it on the screen). I also recently got the caprices on cd played by that famous Chinese woman (forgot the name), who is technically flawless, and musically very good, but still falls quite short of what I'm looking for. Older ones come closer to what I like to hear, and on occasion, I'm blown off my feet.But it's a shame that I didn't yet finish my own technique, because I still feel I would know what to do with it (if you understand what I mean!) (sorry about so much mention of Paganini, it's only that that's what I'm giving alot of attention to just recently, but does not change what I'm trying to say).
  25. That was a pleasant surprise, I didn't realize that this computer still remembered my log on details, which I myself have long forgotten (because it got lost one time and was changed). Some of you might guess who I am. Anyway, my urgent question now is, which is the best edition(s) of paganini caprices sheet music? Is Schirmer OK? I have a new henle verlag, but I had rejected Galamian, and I need some other opinions than my verlag edition which has vertex too. (2 scores) Also, is there any book or publication of practice tips and analysis of each of the caprices? And, who knows, I might also like to order something if I cannot find it locally. Thanks for any help