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Posts posted by liana

  1. yes, true, there are perhaps better violinists in the young generation, all a matter of opinion...

    but surely noone can argue that there's any that are sexier.

    btw, has anyone heard anything about his tour schedule? we were supposed to work with vengerov this summer at the schleswig-holstein festival playing saint saens 3 but he cancelled all his tour dates in july and august apparently due to health reasons.


    of course, on the bright side, we worked with frank peter zimmerman instead on brahms (which, in my opinion, saint saens could never hold a candle to). speaking of whom, there's a good one for the "best of the younger generation" award. what an incredibly precise and clean player!! his brahms was just unbelievable... and i know his recording of ysaye is also disgustingly good. i love playing with soloists of such a crazy calibre, because it makes me want to practice like a madwoman...


  2. something you may want to try is putting her in a class such as the Kodaly method. i started learning music this way and i think it had many benefits -- it's a class based around learning rhythm, singing songs, learning pitch discrimination (i sometimes wonder if the fact that i have perfect pitch can be somewhat attributed to the early training of this class) and basically learning the basics while having fun with music and being a three-year-old.

    i also agree that sometimes learning piano first can be a big help -- if she turns out to want to be a serious player, piano is an immeasurable aid when starting studies in harmony in particular, it lends an interesting verticality to music that is difficult to see sometimes as a violinist.

    i think above all, though, what my very first violin teacher told me is very true: kids have to have fun with music. if they don't have fun, they won't do it.


  3. you can probably play most things without fingered octaves, but i think in the end if you take the time to learn them, they make life a LOT easier for things such as the last few bars of the first movement of sibelius, paganini, etc. of course, it's a technique you can choose not to learn, but in the end you can wind up with a much easier time with a lot of things if you just break down and learn it.

    to respond to the question of how to practice them, one thing my teacher always has me practice is to play the top notes while "miming" the bottom notes, and then vice versa. i agree that scales will help a lot, but be careful not to hurt yourself -- especially when you start with fingered octaves, then can be *very* tiring to practice for any length of time. make sure to take a break every few minutes and shake your hand out.


  4. hey aria!

    tc is correct, i'm going to be at the Schleswig-Holstein Musik Festival's Orchesterakademie. from what i've heard from past participants in the festival, it's definitely worth popping by for some concerts -- i don't know where you live but we're basically all over northeastern Germany, with several dates in Salzau, Kiel, Lubeck, Hamburg, Berlin, Leipzig, and a couple other places as well, i believe. if you'd like the details of tour dates, send me a PM... or you can check out the Festival's website:

    http://www.shmf.de (festival)

    http://www.shmf.de/oa (orchestra academy)

    hope this helps!


  5. i thought i'd ask about prague in particular as i'm going to be there, and i'm currently looking at bows... budding die-hard violin addict would be an accurate description here... and already being familiar with my bow resources within canada, i thought since i'm there i may as well have a look around. can't hurt anything. i'm very wary of buying anything that i can't take to people i trust first to have checked out anyway.

    thanks to everyone for your warnings, though, i was slightly wary of buying anything before and i will particularly be on my toes now.


  6. ahh thanks for the heads-up, jeff! i'm not looking to spend an arm and a leg in any case (my wallet's still hurting from the violin) but i thought i'd look and see what's there while i was in town... i'm sure you recognize the syndrome that i'm describing here.


  7. hmmmm i'm going to be there july 4, 5, and 6 -- my mom and i are doing a whirlwind tour of southern germany and central europe before i have to be at the music festival i'm attending starting july 8 in northern germany. if i hear about any good shops, i'll let you know for sure!


  8. hello!

    i was wondering if anyone could tell me where to find a dealer of fine instruments and bows in Prague. i'm specifically looking for a professional quality bow -- i'm happy to look at the works of modern bowmakers too! i'm going to be leaving on my trip on June 28 (wheeeeeee!) and thought i'd look around there in my ongoing hunt for a bow since i'm going to be in the neighbourhood anyway.

    thanks a lot!


  9. ahoy!

    thought i'd finally bring myself in on this thread... my name's liana (for real, whee), i'm currently in Ottawa, Ontario, Canada, at my parents' place. i usually post from Toronto, which is where i go to school. i'm going into the third year of my performance bachelor's on violin at the university of toronto... i play mostly violin but alas i do have a viola too. unfortunately, i play the viola like a violin, so although i get by on viola it's definitely not my calling.


  10. haha wow, what a great thread... i have so many that i could list! wow.

    okay, most overplayed:

    1) Mendelssohn (although i do still enjoy it, just not when played badly...)

    2) Bruch 1

    3) Saint-Saens 3

    4) Wieniawski 2 (spelling??)

    most over-butchered (this could go on FOREVER but i'll try to choose my "favorites" here...)

    1) Mozart anything

    2) Haydn anything

    3) Tchaikovsky (it was played on several recitals at my school this year in rather awful ways)

    4) Lalo

    5) Mendelssohn (not only played way too often, but usually badly!)

    6) Vitali Chaconne (not a concerto but still brutal)

    7) Bach anything (particularly solo Bach... *cringe*)

    i could go on but i think perhaps i should end my near-rant here... hehe. this is what long years spent at summer music festivals, listening to people practice and perform in masterclass (aka massacre) various pieces does to you i guess...


  11. i have a friend who is a student of Agopian's... he's an excellent teacher, and an excellent player (and a former student of my former teacher! huzzah). his book is apparently technically absolutely *brutal*, written such that HE can get through it in 30 mins, but my friend who's been working on it for 3 years now gets through maybe a quarter of it in that time.

    all this said and done, though, he definitely knows what he's doing when it comes to building violin technique. many of the technical exercises in the book are the same as what my ex-teacher teaches all his students -- and although they're not easy techniques by any stretch of the imagination, they're put together with the goal in mind of producing virtuoso playing.

    so i guess in short: tough book, but if you're at the level to handle it, excellent.


  12. ahhh okay TD! sorry, i guess i completely mistook the intention of your statement. i was wondering about that a little bit, because your comments generally seem very experienced and educated, or at least are usually in accord with my own thoughts (which i guess doesn't necessarily mean terribly experienced or educated, but at least i like to hear my concept of sense coming from elsewhere than my own brain )


  13. In reply to:

    Whether one takes anything useful out of Orchestra/Chamber music etc. depends on the individual attitude.

    i disagree with this... it's true, the additional hours of playing can be very void of purpose sometimes, but i think orchestra and chamber music rehearsals, regardless of your attitude, do have a purpose in individual playing. both of these ensembles work on completely different violinistic skills than solo playing, even with the smallest amount of effort put in.

    orchestra, for example (given that you have a good conductor): work on intonation within a group (ie. the you-are-always-wrong concept), work on following a leader, work on leading, learning to blend, the list goes on. many of these i find to be things that build themselves innately while i'm playing in the ensemble... perhaps this is just because i've been doing youth orchestras since the age of 7, but i think there's an element of learning in them, regardless. (of course, if you have a bad orchestra, we also can't forget the element of learning to sight read... )

    chamber music has the same sort of idea, but it's more intense as you obviously can't hide your mistakes and shortcomings behind a section.

    even though these areas are perhaps not directly related to a soloistic career, i would say they are still very important to any musician's development. chamber music is something that all great soloists get involved with at some point or another. orchestral work is important, if for no other reason, to learn to work effectively with people and to play with them.

    i'm seeing more and more people whom one would think would be bound for the solo stage jumping into orchestral work first. there is definitely something to be said for a bit of financial stability when you're young... in the National Arts Centre orchestra here in Ottawa, for example, Pinchas Zukerman has hired within the last few years a few people right out of school (just finishing Curtis, or finishing a post-Curtis degree) that everyone here would have thought would be bound for the solo stage... and they do play solo recitals, concertos, etc. in the city, but they also have the job of playing in the orchestra.

    anyway. just my two cents.


  14. since you're in alberta, you could always try roy quade in calgary... he's out of town right now (i tried calling him the other day about buying a bow), and i'm not sure if he'll repair bows that aren't his own, but it's worth a shot. he certainly knows what he's doing.


  15. thanks very much for the info to both of you!

    now i'm all curious about that Huberman recording... maybe i'll have to try it out, after Grumiaux. i've heard great things about Grumiaux's Mozart elsewhere, too, so i guess i have to go shopping.


  16. hey all!

    i was wondering if anyone knew of a recording of mozart concerto no. 3 that uses the ysaye cadenzas? i'm learning this piece on the fly for a competition in the near future and my teacher mentioned that galamian had some standard cuts that he made to the final cadenza in the first movement. if someone could recommend a recording, it would be cool! or even better, if someone knows what the cuts are, could you tell me where they are?



  17. Tobi Jurchuk is very good with beginners. i think she may still be with Mount Royal College (but i'm not sure)... the best way to find a teacher that matches well with your students is probably to get in touch with the conservatory at MRC and they'll help your students out.


  18. In reply to:

    The prices these days are so out of line, I cant possibly fathom how a kid could afford this stuff. The Bartok Concerto is 40 bucks, the Walton is up there too.

    i hear you there... i paid $90 for the Berg concerto!! aggh. shostakovich 1 is up there too i believe.

    however my prices are in canadian dollars, so i guess $90 cdn would probably come out to somewere around $4.50 US.


  19. In reply to:

    The price listed on the Canadian branch of Shar web site is oddly in American dollars.

    the reason for this is that the canadian branch of shar recently closed (in mid-march, i believe). so all canadian orders are actually going directly to the store in ann arbor, as was the case before the canadian branch ever opened.


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