Sign in to follow this  
tchaikovsgay

Galamian Violin Hold

Recommended Posts

17 hours ago, Carl Stross said:

I could be wrong as most of my info is based on discussing with people, but I don't think Grumiaux studied violin with Enesco - I think he studied composition/piano with him, like Szeryng. Lots of people took some lessons with Enesco, lots played for him and received some small advice but to my knowledge only a couple could call themselves his violin pupils . Ferras would be one and also to a much smaller extent, Neveau. Two or three others who are practically unknown. Lessons with Enesco were frightfully expensive and just to sit in the small hall of the C/tory and watch the show was around $200. Enesco was very critical of Grumiaux and they did not part amicably, afaik.

Ah. Menuhin did have violin lessons Enescu. There is an interview with Menuhin talking about it.

Share this post


Link to post
Share on other sites
16 minutes ago, Bill Merkel said:

There's a free edition of Bach with all of Enescu's markings penciled in.  What else could a righteous human being want?

The skill, time and dedication to benefit from it :unsure:

Share this post


Link to post
Share on other sites
On 5/22/2018 at 7:47 PM, John_London said:

That has to be right, it is a quest for some, and rather a distraction. I happen to prefer the players who don't use SR. I prefer to Repin to Vengerov, Kavakos to Bell, Perlman to Zukerman, and have a taste the older generation such as Rosand and Haendel to the newer. These players have sometimes discouraged use of SR because there is a connection between the signifiicant differences in technique related to using SR or not, and the sound and style they wish to create and teach. For someone who has taken these fine players as models, obviously one hearkens to their guidance, so I personally tend to lean to not using a SR, and once a particular setup is established it is not easy to switch. It is a matter of taste in violin playing whether to make the effort to adjust your technique to using a SR (supposing you are not using one) or to not using it (supposing you are accustomed to a SR), or indeed to determine that the your aims and models point to leaving this aspect unchanged. As you rightly say there is no violation and a quest to ditch a SR is often undertaken without a clear idea which one is trying to achieve, and is therefore pointless unless so directed by a trusted teacher.

Almost everyone uses a shoulder rest, whether it be Kun or collarbone... The main difference is one isolates vibrations, whereas the collarbone makes a resonant connection, so how you hear the tone is also effected, not just a technique difference...

Share this post


Link to post
Share on other sites
9 hours ago, John_London said:

Ah. Menuhin did have violin lessons Enescu. There is an interview with Menuhin talking about it.

That is indeed, very true. Menuhin took lessons with Enesco for a short period and was also conducted by him early in his career. Which surely helped. As a violin player, Menuhin was actually formed by a great pedagogue - Luis Persinger. Something he later, forgot to stress enough. Enesco, sends Menuhin ( for very good reason ) to Adolf Busch. Unfortunately, it doesn't seem to me Menuhin payed much attention. In general, Menuhin's technique and general musical abilities meshed only partially with Enesco's - there wasn't that much to gain but the advertising was surely helpful.  

Share this post


Link to post
Share on other sites
9 hours ago, Bill Merkel said:

There's a free edition of Bach with all of Enescu's markings penciled in.  What else could a righteous human being want?

Szeryng's edition. Music as she should be played.

Share this post


Link to post
Share on other sites
6 hours ago, Pylorius said:

Almost everyone uses a shoulder rest, whether it be Kun or collarbone... The main difference is one isolates vibrations, whereas the collarbone makes a resonant connection, so how you hear the tone is also effected, not just a technique difference...

I know of experiments in which a (good) player plays the same instrument with and without a shoulder rest.  The audience heard no difference in the sound.   It does sound different to the player, but not to the audience. 

Share this post


Link to post
Share on other sites
1 hour ago, gowan said:

I know of experiments in which a (good) player plays the same instrument with and without a shoulder rest.  The audience heard no difference in the sound.   It does sound different to the player, but not to the audience. 

I have never bought the theory that rest signfiicantly damps the sound of a violin. Some say they find that the effect varies from one instrument to the next and can be an improvement. If I wanted to use a shoulder rest, or a pad strapped to the instrument, that argument would not stop me.

On the other hand, skilled audiences cannot tell a Strad played by a distinguished professional from an amateur-made instrument worth around £1000 (the Alan Coggins BBC radio blind test). These blind tests only go so far...

Share this post


Link to post
Share on other sites
6 hours ago, Carl Stross said:

Szeryng's edition. Music as she should be played.

I've never thumbed through that one.   I like the one I mentioned just a whole hell of a lot better than the one that was foisted on me (back to the topic of Galamian, anyone?)

Share this post


Link to post
Share on other sites
5 hours ago, John_London said:

I have never bought the theory that rest signfiicantly damps the sound of a violin. Some say they find that the effect varies from one instrument to the next and can be an improvement. If I wanted to use a shoulder rest, or a pad strapped to the instrument, that argument would not stop me.

On the other hand, skilled audiences cannot tell a Strad played by a distinguished professional from an amateur-made instrument worth around £1000 (the Alan Coggins BBC radio blind test). These blind tests only go so far...

I don't think it necessarily damps the tone, but there is a vibrational amplification to the ear of the player, that is why I specified that it isolates, there is probably a minor damping though...

Share this post


Link to post
Share on other sites
6 hours ago, gowan said:

I know of experiments in which a (good) player plays the same instrument with and without a shoulder rest.  The audience heard no difference in the sound.   It does sound different to the player, but not to the audience. 

Yes, I meant to the player, not the audience...

Share this post


Link to post
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.
Note: Your post will require moderator approval before it will be visible.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

Loading...
Sign in to follow this  

  • Recently Browsing   0 members

    No registered users viewing this page.