Daniel_the violist

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About Daniel_the violist

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  1. Violists should be able to play scales using every fingering possible. I personally like to play scales using horrible fingerings, just so I can learn to do them that way. An example of this is Db Major. When I descend the scale, I go 4321 and then I shift down (to low 3rd/high 2nd pos) 4321 and etc. This jump is a very important one. Another thing I have started to practice is instead of shifting up to third pos from 1st in ascending scales is going to 4th. How can we execute these shifts perfectly unless we practice them? Scales should be practiced at all speeds with different bowings as well.
  2. I have heard that the best bang for the buck when it comes to bows can be found in Germany. For under $3000, supposedly, you can get a really great bow. Is this true? Who are the best bowmakers in this pricerange? I have heard of some names such as Grunke, Doelling, Dorfler, Walbrodt, Wanka, Schmidt, Uebel, and Penzel. Does anyone know the scoop on these makers? What about bowmakers in other countries? I know Brian Tunnicliffe has been named. Has anyone heard of Kees van Hemert? (I am specifically looking for viola bows, but any experience with this type of price range would be appreciated from anyone.)
  3. The reason I was thinking of not doing the arpeggiations is that I think they destroy the mood that needs to be created. The beginning is very declamatory I think. Reger didn't know much about string playing from what I have heard about him. On a piano, making loud opening arpeggiations is simple. On viola, that is not the case obviously. It is difficult to achieve that strong forte sound with good core while rolling.
  4. Yeah, I will have to agree with One tree that Joshua Bell is too...eh...cutsy with his playing. I don't like his tone either. There is a difference between playing differently just to be cute and to really have a serious interpretation that is convincing. Maybe Joshua Bell is always in a cutsy mood...I don't know. I mean who else would record West Side Story on violin and have a photo of him all made up and in designer clothing? I think the best violinists aren't necessarily the most famous. I mean there probably are some really ugly violinists that are better than Josh Bell. I really think Elmar Oliviera is a great player. He isn't so famous, but he beats the hell out of Josh Bell. I mean he won the freaking Tchaik Competition! He just played Brahms with the Philly Orch. I saw him play Lalo last year and it was ridiculously awesome. Bill Preucil is amazing. Miriam Fried is also really good. She is in the Mendelssohn Quartet. Joseph Silverstein is my favorite violinist ever. He is out of his prime now, but he was the best. Listen to the slides in his recording of the Amy Beach Romanze and you will understand. He is also the most outstanding chamber and orchestral musician on the planet. Well...my two...well...maybe three....cents. Danny
  5. Does anyone actually play the arpeggiations in the opening chords in the first mvmt of the g minor suite for solo viola by Max Reger? Any reasons why you do or don't?
  6. What are the free summer programs? I mean places where everyone gets a full scholarship, not where you can apply for financial aid. I have heard of Yellow Barn, Kneisel Hall, and Kent/Blossom. Any other ideas?
  7. Does anyone here go to (or went to) North Carolina School of the Arts? I want to hear what you think of the school because I am considering going there next year if I am accepted. Thanks for your help, Danny
  8. Our program is just like yours in essence. We are an arts magnet. There are a handful of good kids and the rest are bad. Kids just don't care I guess.
  9. Where would I find the entire sequence? Thanks for the replies!! Danny
  10. I definitely am experiencing and have experienced some of the stuff you are describing. In my current school, we have only one orchestra. In this orchestra we are playing things like Brahms Symphonies and the Brahms Violin Concerto and Rossini Overtures. It is just crazy. There are many kids in the orchestra that can't really play much of anything at all. What are they doing in this orchestra? The school needs to have separate orchestras for the different levels. Also, these kids bring down the level that the orchestra could be. It is not fair for people who can play. The orchestra director tests everyone on how they play their parts. These kids should be practicing etudes and things instead of developing bad habits faking orchestra parts. Before I came to this school I was in a school that had the problem of kids quitting to be "cool" in band or whatever. They definitely missed out because they didn't get much instruction. To play "the devil's advocate", does it really matter that these kids get instruction if they don't want it. Are they really talented? Isn't the only important thing for school music programs to do is to instill in the students a love of music? They can't have successful careers in music if they are only practicing a half hour a day anyways.
  11. Does anyone know the notes to the Dies Irae? I was thinking about using it in my viola concerto. Thanks for your help. Danny
  12. Does anyone happen to have a recording of the Bartok Viola Concerto made by Pal Lukacs? It is long out of print. It is probably only available on LP. I will buy it from anyone who has one for sale or will pay someone to make a copy of it. Thanks, Daniel
  13. Last I heard, we were having a pernambuco shortage. Why waste it on fittings?
  14. I was going to go there this summer but I got into Eastern Music Festival so I decided to go there instead. Luzerne is in NY. It is not that expensive. Philadelphia Orchestra members teach there.