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Matthew_D_Green

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  1. Go to Valencia, Spain, and get a few lessons with Miguel Negri. You'll be glad you did!
  2. There is a nice Suite by Telemann that I know of in B flat major. There are some short pieces by Hindemeth which are really cool. You can use flute trios by Boismortier as well.
  3. Mr. Rosand has never made a big deal about holding the violin perfectly horizontal, or parallel to the floor, at least with me. He does, however, insist upon students holding the violin well, and in the proper way. The sponge idea will not go away because it is a good idea, so why should it? There are, in fact numerous international artists who use a sponge, including women. Miriam Fried comes to mind. Mr. Rosand, and others, including Stern, do not and did not make a secret of it, either, nor lie about it. I assure you that Mr. Rosand's teaching is not about theories, but about practice. And the proof is in the results. Just listen to his recordings, or go to a class yourself. In terms of the violin being level, we may not all be on the same page about that. Mr. Rosand wants to see the violin level, or close to level, from the front edge to the back edge, in other words, not tilted too much towards the audience. In fact, he has told me several times to let the scroll end ride lower. That angle depends a great deal on the shape of the player. The fact is, and this is not a theory, that there is a technique to using the body to project the sound of the violin, to achieve a certain quality of tone. This is why Mr. Rosand is so particular about the way his students hold the instrument. Others may have their technique for holding the instrument, but this is his way. I do not need to know exactly how it works, but I know that it works, and I understand enough about how it works to pass it on to my students. It is not about theories, it is about practice.
  4. I have an editing program called Bias Peak LE. It is good. But I, like some others here am frustrated not having a digital out on my minidisc recorder. There is a high end minidisc unit which has it, but it is very expensive. If anyone knows a good way to get a digital signal into my Mac, I'd like to know.
  5. How about Souvenir de Sarasate, by Potstock?
  6. Very well stated, Lymond! Mr. Rosand's contemporary violin is a Widenhouse, a copy of his Guarneri.
  7. How about Sicilienne and Rigaudon by Kreisler?
  8. The Telemann 12 Fantasias contain movements which are easier than Bach. Give those a try.
  9. Correct. Milstein did use fingered octaves.
  10. I once did a gig for "Candid Camera", which was both very funny and really well paid. I kept getting residual checks even two years later.
  11. Congratulations! Nice gig! Did an agent get you that? Did it pay well?
  12. Well, it went about as well as I could have hoped for. I played better than ever, and on a program which was over ninety minutes long. I did all the repeats in the Mozart and in the Bach, as well as recapping Minuet I after Minuet II. The Lutoslawski went remarkably well, and was well received. I got 5 big bouquets of flowers!!! There were about 80 people in attendance. Overall, it was a very positive experience. Now, back to the salt mines!!! Kreutzer, Rode, scales, double stops, here I come!.....Next stop, Spohr Concerto #8, Haydn Concerto in C major.
  13. These are all very interesting posts, with a lot of insight. We can look at the glass as being half full, if we want. People in any profession have to work hard and be resourceful in order to succeed. Classical music has a history and an establishment within which we can work. Opportunity exists. There are sacrifices, to be sure. I, for one, could not be anything other than what I am, so it doesn't matter whether it is hard, or easy, it is just what I will be and do. As an industry, however, I think that we are doing a poor job of marketing. We are stuck in ruts of image, elitism, and we need to do better at connecting to the public. In a capitalist society, (my favorite kind), it is up to us to draw in concertgoers, CD buyers, students, etc. We can do it. And, I daresay we could do it better than other music genres which are currently raking in the dough, likely in the billions. We do need some fresh ideas. I also agree that SOME of the drivel that composers have been spewing over the last 50 years or so has chased away a generation of music lovers. I would challenge today's composers to start writing beautiful music again. Please don't get me wrong!!! There is some very good new product out there, and there is a lot more of what I don't know about than what I do know about. I am pretty busy, and I don't have a lot of time to listen to every new piece that comes out. I don't want to insult anybody. I would use Alistair's term "Backlash" as the perfect name for a new movement in classical music. It would be great new compositions with great architecture, and great emotion, using all the science and craft of what hundreds of years of evolution has brought us. It would be a "backlash" against everything which is un-art, or un-music, which has been the trend. One of the hardest things for me is finding time to relax and have some downtime, like playing GOLF, for example!
  14. Thanks, all. I appreciate that. Yes, Lutoslawski is one whose works, I believe, will stand the test of time. It will be interesting to see how the audience responds.
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