Stolyarsky's Bow Technique

[Victor Roman]

 

[Altgeiger]

That's really great stuff.

[GoPractice]

On Oistrakh...

Is it possible to articulate, in words, 21st century what is there?

Highly articulate response to the written page.

[GoPractice]

My only knowledge of him is through sound and my teacher.

Stolyarsky might be described in writing?

[Zeissica]

Very interesting! Thanks for posting this. 

[Victor Roman]

On 1/2/2025 at 7:40 PM, Zeissica said:

Very interesting! Thanks for posting this. 

A lot of interesting stuff on his channel + proof he's a very competent player.

[Victor Roman]

On 12/31/2024 at 12:48 AM, GoPractice said:

My only knowledge of him is through sound and my teacher.

Stolyarsky might be described in writing?

I don't know. Maybe. These things are usually learned over a period of time through direct instruction and imitation. One imitates both the mechanism and the tone resulting, accordingly. Myself am not a believer in long lists of printed instructions.

[GoPractice]

On 1/5/2025 at 1:26 PM, Victor Roman said:

I don't know. Maybe. These things are usually learned over a period of time through direct instruction and imitation. One imitates both the mechanism and the tone resulting, accordingly. Myself am not a believer in long lists of printed instructions.

Dyo's videos are valuable in that these are footage that were unknown to me. As is utube. The discussions are important.

Many pose interesting ideas but with video there are IP ( Intellectual Property, copyright issues ) and might pose problems for frequent posters. Also the ideas might be concrete but the thoughts or aspects of the execution are lost.

Then aspects of old school teaching, where the instructor teaches a style, has instruments and bows that one might allow a student to purchase ( that suits that particular style ) and further advance their careers. 

The names get lost but Yampolsky, Yankelovich... , have all been described to me in the past, but in this more modern age, the explanations are necessary.

I have substituted for this one cello coach and we have not spoken much since he was in his late teens ( decades ago possibly in a Masters program ) where we almost played for an extended period. He has exquisite gear and a bow that I have wanted to study, where I have owned an example of a frog from auction. He has grown into an incredibly thoughtful and insightful player.

Recently we overlapped as I heard him practicing bits of Bach 5, 6 in an isolated classroom. He was playing as in the old Casals photos, solo in a space. Not used very much these days. We spoke for about an hour about his grip, as it changes along the long lines between the chatter, serious string crossing. He is practicing all the time, trying new things, listening, playing for others, open to discussions.

Not discussing how bows work, but my thoughts on how the hand can be useful. This is an ultra simplification of observations. And only in the violin realm. Not trying to be Mimi Zweig or Betty Haag... the Bunny head hold of the bent thumb between rounded middle and ring fingers is semi- stable ( three point ) of say a free floating pencil. More stability with added fingers. As we really advance and the aid of friction and making dynamic contact with the string, we can get to just gently pinching between the middle finger and the thumb. Is this the best way to play?

My student saying in the current market is that from a 2digit ( usd ) synthetic bow to the 5digit, and this is entirely a joke, that one better understands the bow by removing pressure from individual fingers. Try every combination. Lifting the pinky is easy, but the index? Kids graduate to the 3digit bows, fairly fast.

And this is horrible way of reverse engineering that the best players use two fingers, non. But at the limits of playing where any overdriving of the strings of the stick would ruin that moment. Looking at posters of Gil Shaham make me weep. Not saying that he ever releases any finger from his hold, I do not know him at all, but live, I have heard him ride that edge for a long time, not going over. We can forgive the drink that Joshua Bell is...

Any specifics would be great. The videos are great, but a placement, release and squeeze on any particular passages might be insightful. And of course this is equipment dependent. 

And that is why we are here. We theoretically adapt to our tools. And better tools help us, hopefully. Videos and instruction also. I read too much sometimes. The time to execute is what I lack, while my friend is immersed. Direct instruction and the time for imitation these days is expensive.

Many of friends past, most passed but one told me about lessons with Mischa Mischakoff ( the internet photo, radio france ) is great because that image is not how he was presented to me. Anyway, one Professor told me that he would walk several blocks and pay Maestro Mischakoff a nickel for twenty minute lessons at his home. I presumed that this was during the 30s. Lessons are valuable.

Every bow, string, set up, player is different. Not all techniques can be utilized quickly. And if at all, unless the technique is horribly bad generally because we can only discuss as generalizations here, add to the existing technique.

Yes, Dyo's posts are valuable. I had several teachers who knew or were " in class " with Rabin. I asked my first teacher if I could ever play ( Paganini, Angel? - every copy I have purchased has been borrowed and never returned. ) like him and was told that I could, but would have to better at bowing and clean up the left hand work. There is a video.

[SJW]

Thank you for sharing. Interesting information in this video and on the channel. Looking forward to exploring and learning more.