Stephen Fine

Maybe he's using a loose bow? That percussive sound is interesting. (Could it have been a recording technology issue?) In general, it just sounds like a bouncy spiccato.

I've done things vaguely like this for students who don't read notes, but never like this. I wonder why their instincts was to go down instead of across. And writing out the numbers instead of using the numerals. Weird. Pretty though. And legible enough.

Thanks!

I think it's worth pointing out that Taruskin collected all that in 1995 with much of it dating back to the 80s. The HIPP movement has come a long way since he was excoriating the false orthodoxies of the late 1970s and 80s. I'm sure that individual teachers, performers, institutions, and ensembles still have their false idols, but my general sense of the HIPP world is that they've absorbed Taruskin's criticisms and emerged more seriously academic, but also more keen on the results side of it. For example, the Mozart recordings by René Jacobs in the 2000s are just remarkable I love his Magic Flute, love his Figaro, and he even got me to listen to Clemenza di Tito (over and over again). Weird research projects resulted in fun collaborations like Hilliard Ensemble and Christoph Poppen on Morimur. As a performer who came up in the early-mid-late 2000s, my perception of HIPP (in the USA at least) was that while morale was becoming a problem in symphony orchestras, the HIPP players seemed more energetic, more devoted to the music. And I can't imagine that they were making better money. As a student, some of my most sublime moments of learning the Baroque music came from gleaning from HIPP research.

I had a student bring up a memory of a technique I've seen taught, but since I don't use it myself, I can't quite remember how it works. When at the tip with shorter arms, the bow can go crooked. There's a little oval thing with the bow arm/wrist that I've seen taught at the moment of bow change, but is it a little oval traveling clockwise or counterclockwise? Anyone know what I'm talking about? I associate it with 20th Century French technique in my head for whatever reason. Do they talk about it in The Art of the Violin?

Traditions and styles go in and out of practice and there is nothing new under the sun. Heifetz was an extraordinary talent, but it's silly to argue that his ability was unique. That being said, I'll put up his performance of basically anything against anyone else's. He had ability, taste and experience. When I was younger (on this very board) I would criticize Heifetz's Bach compared to Milstein's. I just didn't like it. So much so that I ignored it for many years. Imagine my surprise decades later to learn that in fact his Bach is very good--my younger opinion was foolish. I can enjoy Milstein and Heifetz. One need not have loyalty to an interpretation of Bach. I think the historical performance practice revolution that went on in the 1970s was, mostly and overall, a good thing for the performance of Baroque and Classical music, but Heifetz didn't need it to produce meaningful interpretations of Bach.

The stories recently about student cheating have been fascinating. What an amazing peek under the hood of human nature. No matter what, we humans are always "worse" than I thought. Without the right incentives, we just immediately descend into barbarism. I am still confused about whether the newest models are just prediction algorithms or if there is some form of reasoning and we are approaching a true General AI. The fact that Google search's AI (and videos like above) are still so inaccurate and unintuitive makes me think that we still aren't approaching real AI. Is this just another tech revolution, or is it the Final Tech Revolution?

Haha. Welcome to the forum, Rusty. I haven't seen this post in... twenty-three years? And I started it when I was in 9th grade. There have been other threads over the years with the same topic. If you were curious about what people on the forum are playing these days, you could start a new thread. Or, I suppose people could add on to this historic artifact. I miss Toscha. In the pre-youtube/iTunes days, Toscha was a font of wisdom about historic recordings in print and out of print. The "Widhalm" I reference at the beginning of the thread was stolen from me when I lived in NYC 15 years ago. I still have the EH Roth with the Nazi brand, but it stopped being my performance instrument in 2002.

You don't type using both hands? 150 wpm with one hand has got to be some sort of speed record. It's faster than I can do with both hands. As for OPs questions which comes up in some form or another pretty frequently, I always just figure the instrument requires both hands to be quite dextrous.

Hi, Alessandro! Good to see you here. I often tell people asking about violas you made one of my favorites, the one my student, Ansley bought several years ago.

Perhaps a more charitable way of putting it is that copying and transcribing are very traditional parts of the music education process. I don't know what level Pedro is at, but copying out a part is very educational. The melodic line here is simple enough, but figuring out the rhythms could be quite an exercise in notation. Trying to sort out how to bar different triplet and syncopated rhythms is always a good time.

Oh. Haha. If that was something I could do in a couple minutes I would, but I'm a slow transcriber. The AI transcribers built into the new composition software is pretty good, but I don't have one of those.

You can download it for free below:

Nice! Good find. Pedro, I hope you check back in to see that the part is available on IMSLP.

Wow. That's beautiful playing on that Adagio. What's weird is if you go to the rest of the album, the first movement and the third movement are the RV314 on IMSLP. I wonder if it's an alternate 2nd movement or if he borrowed it from elsewhere (or if some other editor of the past did). Also, Pedro, you should know that if that pizzicato part exists, there's a good chance that it's a continuo part, which is to say you have to know how to read a continuo part.