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Elfrida

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Everything posted by Elfrida

  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!
  16. Here's a link to the viola catalogue at the Swedish Music Information Centre: http://www.mic.stim.se/avd/Mic/Prod/micn...e/Viola2004.pdf Most of the works presented in this catalogue are on file at SMIC, and the only way to get them is to order photocopies from the centre. I've used their service several times for odd chamber music groups where we've had trouble finding repertoire, and we've been very happy with some of the pieces we got. Have fun!
  17. There's also a smaller Kreisler collection available from Dover.
  18. The Huws Jones book is quite flexible in that you can play the melody (seldom goes beyond 3rd position, but of course you can play octaves and whatever when you want to add some spice) either with a violin accompaniment (lots of double stops), a pianist playing from a written piano part, a pianist or a guitarist playing from chord symbols or either of these options with a third person playing a simple 2nd violin part. I recall a book called Huzd ra zigany (sp?) too -- also a collection of gypsy violin pieces with piano accompaniments. Can't remember who published it, though.
  19. Oh, and for romantic pieces you could try Sheila Nelson's The Romantic Violinist (same publisher as EHJ). You'll find at least one Hungarian Dance and a couple of showpieces that are very playable and fun.
  20. The Gypsy Fiddler is an anthology compiled by Edward Huws Jones and published by Boosey & Hawkes. VERY good arrangements.
  21. I'm actually talking only about the Sicilienne that has Maria Theresia von Paradis printed as the composer -- not just any Sicilienne (it's a very common movement name, so there are lots of them). The Dushkin/Weber track sounds interesting. Thanks!
  22. Once you've learnt it, it won't be any confusion at all. And it really isn't that hard to learn. If you want to practise without having to think too much, get a copy of Mary Cohen's Viola Quick Change (Faber, I think).
  23. Somebody told me a while ago that Maria Theresia von Paradis did NOT write the famous Sicilienne. The story was that that the piece was written like the J C Bach viola concerto, i e somebody like a Casadesus composing something in the name of somebody a long way back in history. Does anybody have the hard facts on this? And does anybody have sheet music for any piece of string music that she actually did write?
  24. Also, the Colourstrings Method might be worth a look. www.colourstrings.co.uk
  25. Vivaldi's Gloria (not the famous one but RV 588), a Naxos recording by the Aradia Ensemble.
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