pjm

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About pjm

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  1. If you don't like the recording ,Kremer probably is more to blame for the interpretation. Try listening to Mahler 5 Maazel/Vienna. It is wonderful!
  2. Great news! Now people will be able to hear how well the orchestra is playing, and the brass won't have to blow their brains out anymore just to sound balanced in the audience. Less earplug time for the viola section?!
  3. About 3+ weeks . This is good though ,compared to everything that I have tried. Maybe I should stop practicing?
  4. I just have to profess my love for Evah Pirazzi. Big, rich sound,and longer life span than doms.(which is still only a pathetic 2-3 weeks for me ). I should stop sweating so much. Maybe nerves? I digress... try them. I have noticed that two thirds of the violinists in my orchestra use them now, too.(not a scientific survey)
  5. I would like to know what is it about being a musician that you find most difficult(excluding technical specifics). I feel that there are great challanges that go along with being a musician. Especially now-culturally,politically etc.
  6. A titled player in my orchestra said that when she was young, she saw Meadowmount as a great vacation, since she practiced so much more the during rest of the year. This is just something I thought was funny, and perspective.
  7. It may be fair to say that the traditional teaching of violinists has too heavily emphasized solo rep, whatever the motivation for studying the instrument. I agree with Tobychaos in this sense.
  8. It would have been so nice! When I was in high school, Gingold passed away. Of course there are wonderful teachers still (some on this forum, no doubt),but the commitment and craft of Galamian and the humanity of Gingold......we'll have to search long and hard(not in the Redrobian sense). Excuse a poor attempt at humor,please.
  9. This is fine playing! I find it difficult to direct since, to me ,this was all one type of playing. To split hairs, I wasn't crazy about the lyrical quality of sound. It seemed like everything was great, unless they needed to play in the string and settle. Also, some groups of notes in Figaro were out of tune(only within the hand frame-not shifting). This only stuck out because so much of it is all over the violin and so accurate. As I said, this is hair splitting. A very high level of playing here,clearly. My greater concern is offering THESE selections for critique. Why not more substantial music? Emotional bandwidth is what I listen for mainly, of which I still have no idea. Please post more! It is a pleasure to hear this level of virtuosity.
  10. I like the Manhattan String Quartet's recording (on the ESS.A.Y Recordings label). For me, the sound and character are just right. If you want barn-burning virtuosity,however,the Emerson is tough to beat. Enjoy them all!
  11. I'm not sick of this thread, because S.R.'s former representation was dominating this forum. Isn't it fitting that we dwell just a bit on a change in this environment. This is an opportunity to have a truly free exchange of ideas, without domination by "Master of Masters". Currently, I'm a first violinist in the Minnesota Orchestra. I won the job just last Feb. Before that, I was Guest Principal 2nd of the Saint Paul Chamber Orchestra. I will never be famous. I have been a soloist with regional/per service orchestras, but I'm not experienced with the A-list circuit. Before orchestra playing I was in a professional string quartet for four years. I say these things only because credentials are somewhat important, as is giving an indication of credibility. I would like to contribute anything that I can to those interested. I would also like to caution against seeking THE AUTHORITY on music or string playing, because there are too many facets to what we love, and noone has expertise in them all! I welcome this era in which we all can participate without aggression, and we can use experiences/proficiency as a point of reference, not to win an argument.
  12. Being a professional soloist isn't really up to the student, usually. An aspiring professional musician, soloist, chamber, ochestral.....would require similar dedication. Whether one becomes an established soloist is an issue of demand based on many factors.
  13. I confess I didn't see the video(couldn't seem to download it). An issue I have is a failure to recognize good playing(or bad)based on the reputation of the performer, not my ears. I feel many of us do an enormous disservice to live music by looking to recordings or stories as the standard of playing when there are so many variables-who's playing what,conductor,orchestra,weather,nerves,fatigue,is this the 2nd or1002nd time they have played it? In most weeks (3-4 concerts),I hear one remarkable performance, and at least one average performance. I'm sure that this was true of all the late greats as well(train wrecks and memory slips even at a Heifetz concert?!) I hope that wasn't the only time some people heard him. Maxim Vengerov, who has been easily dismissed on these boards before, played the Beethoven Concerto with my orchestra last year. We had two rehearsals(luxury). The second rehearsal haunts me as the most beautiful violin playing I have ever heard. During the performances, I was not as thrilled. This gave me pause that nobody who bought a ticket got to hear the level of playing that I did. I feel that with todays high playing standards ,perhaps the greatest performances of great works are done by people we havent heard of. I feel blessed to live in a time when there are dozens of people at the highest level of playing, some recognized, some not. This should have been a new thread. Please excuse my rambling on.
  14. pjm

    Sightreading!

    Trust yourself to look ahead(more than one would typically do). It requires that you trust your ability to retain info. Stay hungry for the next group of notes/rhythms.