• Content Count

  • Joined

  • Last visited

About fiolmattias

  • Rank

Contact Methods

  • Website URL
  • ICQ

Recent Profile Visitors

2594 profile views
  1. fiolmattias


    Thanks Adrian, I missed that page!
  2. fiolmattias


    What does the subscription offer? Is it just to see more records per day, or are the records more detailed (more images etc)?
  3. I'm guessing that it is a typo, it probably refers to the Emperors Hymn, or God Save the Emperor Francis. It is the 9'th caprice from Wieniawski's op 10’École_moderne,_Op.10_(Wieniawski,_Henri)
  4. Venice?
  5. You are making it to hard on yourself. The ear wants to hear the melody in tune (normally the top note), and the other note(s) have to adjust. When there are open strings involved they will not change the pitch of the other notes. Ex a Gm chord, open G, open D, the Bb a bit higher and the G in tune. On the other hand if there is an open string on top, the lower (fingered notes) have to change. Ex the C#-dim in the Chaconne, where the Bb have to be tuned to fit the open E-string.
  6. Can you give the link to any of these recordings? There is a Capriccio per violino solo in G major (that is written to be played as chords on all four strings) MS 54. The manuscript is in Vienna and it was printed by Curci in 1977.
  7. I believe that he said in the Masterclass that he composed it himself.
  8. Hubay, (and Sarasate, Liszt, Brahms and many others) arranged traditional music to play. It is not plagiarism. And I am not familiar with that Disney tune, but isn't it possible that Sherman was inspired of the same traditional tune (rather than an obscure Hubay piece that only a few of us know about)?
  9. That sounds better! But you still have those mini problems both here and there.
  10. In my opinion you still have to write out what standard you are deviating from. You write "Lowered major seventh, third, sixth, or modal second" etc - compared to what?
  11. Of course the composer can dictate tuning. But why? You have not written what the basis is that you deviate from either, I guess that it is deviated from tempered intonation? You know that some of the chords will sound out of tune for most violinist in your writing, right? There is no melodic intonation nor any real harmonic progression between chords in the intonation. Most violinist want a different A in A-major than in B7 for example, or the passage in bar 29 where the F# will sound too flat for me both because of the notation and because the distance between the notes must be a tad wider in that speed.