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Elfrida

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  1. I just got a DVD (Spirits of Music Part II) where he performs with Bobby McFerrin and the Gewandhausorchester. It's a new release, but the performance -- at the Marktplatz in Leipzig -- was taped in 2002.
  2. Tradfiddle, you're right -- but if anyone has a period viola and no authentic music to play, then I'd say play the Ariosti sonatas anyway and have fun! I've only performed them on my modern viola, but I've tried some movements on my Baroque viola and realised that they would be fine there too (only it's really hard to play the double stops in tune ...).
  3. This might sound a bit rude and you probably know it already, but to begin with you should of course always choose repertoire that everybody can play more than decently. Never use an orchestra (or any kind of ensemble) to push technique for the players, but to use technique that is very solid and push (or maybe I should say encourage) musicality and interaction. When you start with your new ensemble, I'd say start with really simple stuff and tell them you're trying things out to evaluate where you'll be going during the year. You can play scales in canon, or build chords changing one "voice" at a time, and work with a lot of dynamics and bowing techniques, before you decide on a specific "major" piece. To keep them enthusiastic, tell them a little about what you're looking and listening for and let them come to the front one by one to conduct a short phrase, listen, give instructions to the others and try again. That way they'll grow to respect each other and your work even more -- hopefully -- and be more involved in the process. I don't know if this is something you can do in an elementary school where you are, since I'm sure we don't live in the same country :-), but that's what I would do to start with! That said, I hope you'll crawl out from under the rock soon and feel confident again -- I'm sure a lot of us recognise ourselves in your situation and story, since these things happen now and then, and it's like the end of the world when they do, but then you fall in love with the music and the teaching process again ... All good wishes to you!
  4. I think one thing the viola was used for was to play the tenor part in four-part choir pieces, which were often performed with strings playing colla parte (or am I making this up? I hope not). Some early viola sonatas that you might like, although they're Baroque, are the Stockholmer Sonatas by Ariosti. I've played one of them and tried the others, and while they're not as straightforward as the Telemann concerto, they're interesting and fun to play.
  5. Has anybody read a novel called Rhapsody (previously published under a different title, something like The Student Conductor)?
  6. Before summer ends, if you haven't read The Piano Shop on the Left Bank, you have time to do so. Ideally of course it would have been about violins :-), but still, it's such a nice story.
  7. Well, I know most people will probably ask you for the standard quartets, but to give yourself an edge and make it more interesting, why not play something less known as well? There were quartets or quartet pieces by Rebecca Clarke and Maddalena Lombardini Sirmen published quite recently, for example. A gigging favourite of my quartet is Barrie Carson Turner's collection Beautiful Dreamer (Schott). It seems to have something for every occasion.
  8. Thanks! I've found some Kuhlau works for two flutes and piano now. Thom, could you give me the name of a publisher or something for the pieces you were thinking of? Omobono: great list! It turned out a friend had the Devienne pieces hidden somewhere, so I'm going to try them ASAP.
  9. I'm looking for music for violin and flute with or without piano. So far I've found a small piece by Suk, Two Interludes and an Aria by Ibert, and two duos, one by Telemann and one by C Ph E Bach. Martinu's Madrigal Sonata is out of reach right now. Surely there must be more repertoire -- any suggestions? A viola instead of the violin would be OK, too, if that helps. Thanks in advance!
  10. The copyright year is 1900 for the edition that I'm looking at.
  11. This should be much less of a problem to a Suzuki teacher than to anybody else, if what I've learnt is true: that you constantly return to all of your old pieces, reviewing them and touching them up to your current level, i e all the time you keep your entire repertoire up to date, not just repeating the pieces but working on them. I've even seen a schedule for somebody in book 10 telling how to get through the whole thing every week (including all the Twinkle variations) and how this would, according to a Suzuki hard-core person I guess, be just as good as any etudes or scales at that level. Even if your boss doesn't work like that, moving back to review should be a very natural part of your work as a Suzuki teacher, or at least you can present it to your students that way.
  12. I just found a new CD which is really interesting: orchestral works by Helena Munktell, a 19th century woman who came from a rural area in Sweden and studied with d'Indy in Paris. Gävle Symphony Orchestra has recorded four of her works (Breaking Waves, Suite for Large Orchestra, Valborgsmessoeld and Suite dalécarlienne) with Tobias Ringborg, a young violinist-turned-conductor at a label called Sterling. Listen to it if you get the opportunity -- it's very enjoyable! http://www.toccata.nu/cd-label/sterling/CDS-1066.html
  13. And then anybody smart enough to realise how much there is to learn would call him/herself a violin student ...
  14. There are several grade systems. Two that are used in many parts of the world are ABRSM and Trinity College. Here are the websites, where you can ask for a syllabus to compare with your own skills, repeortoire etc: http://www.abrsm.org/ http://www.trinitycollege.co.uk Obviously, Trinity has also taken over the Guildhall examinations and their syllabus.
  15. Have you heard the Nystroem (Nyström) concerto? I had a friend who played it somewhere between all the other "standards" mentioned here, so I'm guessing the level would be OK. Also, I posted a link a little while ago which might be interesting if you're looking for new repertoire: http://www.mic.stim.se/avd/Mic/Prod/micn...e/Viola2004.pdf Helen Callus has recorded a CD called A Portrait of the Viola with music by British women only. When I talked to ger she was plannning another recording with viola concertos too. You could ask her for some ideas -- www.helencallus.com!
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