Violinist Sarah Chang:

Diana Krall's "Besame Mucho" is probably one of the most romantic songs I've ever heard. Ravel's "Bolero" isn't necessarily romantic but it's definitely one of the sexiest, slinkiest pieces of music ever written. Happy Valentine's Day, everyone!

Violinist Philippe Quint:

I want to wish everyone a very Happy Valentine's day! There are just too many incredible works to choose from when it comes to compositions inspired by a romance. For me, Beethoven's Romance in F depicts a profoundly sincere emotion and a vulnerable heart–on–a–sleeve approach. 

But there is another composition that stole my heart recently — the beautiful "Valse Triste" by Ferenc Von Vecsey. It even inspired me to create a music video featuring Joffrey Ballet ballerina Christine Rocas.

Douglas Sheldon — Managing Partner at Sheldon Artists Management:

The J.S. Bach B minor Mass.

Bach, in his writing and handling of texture, layers, fugal pacing, harmonic pacing, and beautiful melodies, formed a most expressive style that communicated the value of text and foreshadowed very early on what ‘romantic’ expressiveness can mean and be.

Violinist Vadim Repin:

I find a special world of emotions and romanticism in the music of Johannes Brahms. The second movement of his Violin Concerto is one of the most deeply touching experiences I know. 

And of course, the astonishing, passionate, tender, almost surreal Adagios from the great Russian ballets of Tchaikovsky or Glazunov will always be a perfect accompaniment to Valentine’s Day!

Violinist Anne Akiko Meyers:

I absolutely adore Bach/Gounod's "Ave Maria." It has very special meaning to me as I grew up performing it with my sister when we were little.

Recently, when I played it with my 8-year-old daughter, I watched her little hands play the beautiful accompaniment and was flooded with emotion. It was the circle of life through and through.

VC Artist Cellist Kian Soltani:

For me, the slow movement of Rachmaninoff's 2nd symphony is about the most romantic music I can possibly think of. So full of color, love, and heartbreak, it has all the characteristic harmonies that make Rachmaninoff unmistakably romantic and genius. 

Andrew Ousley — Founder and President of Unison Media Public Relations:

Arvo Pärt's "Spiegel im Spiegel" is one of the most perfect distillations of love I've ever heard. Two instruments slowly, gently following each other up and down, through ebbs and flows. Somehow, this piece of music that's so simple on paper — like a relationship between two people — becomes so much more than the sum of its parts (pärts?).

Violinist Alexander Kerr — Dallas Symphony Orchestra Concertmaster & Professor at the Indiana University Jacobs School of Music:

The most romantic piece of music I have ever heard is the main theme of the movie Cinema Paradiso, by Ennio Morricone.

I know I might be massacred by some of my colleagues for writing this but I honestly don’t know of any single piece that has evoked the emotional responses in me that this one has been able to do every single time I have listened to it, for so many years.

Romantic love, love of a dear friend, love requited, heartbreak...it’s all in this simple but gorgeous melody of saxophone and strings. It is truly a masterpiece.

Daniel Kellogg — President of Young Concert Artists:

As cliché as it might be, I think "La Bohème" is the most romantic piece. My wife and I saw it together as teenagers the summer we started dating. The tenderness and pain of Mimi’s death scene coupled with our own youthful romance made for a deeply moving evening.

"Pianist with the Hair" Julian Gargiulo — Founder of the Getting to Carnegie Competition:

The most romantic piece of classical music was written for the least romantic of reasons, hypnosis. It feels like the chances of that succeeding are similar to the chances of an arranged marriage blossoming into a passionate love story. 

And yet, Rachmaninoff’s astounding 2nd Piano Concerto was "induced" by hypnotist Prof. Dahl who coaxed Rachmaninoff into composing with the words: "You will begin to write your concerto. You will work with the greatest of ease. The concerto will be of excellent quality." Note, currently Prof. Dahl is not taking on any new patients.

Afa Dworkin — President and Artistic Director of the Sphynx Organization:

I am nominating the "Andante Cantabile" by Florence B Price from her A Minor String Quartet.  This movement is at once full of loving lyricism and melancholy, like a love tale. It sings like a ballad, unafraid to offer some subtle dissonances juxtaposed with beautiful material influences by spirituals. 

It takes the listener into a pensive place through the luscious harmonies of string instruments. Familiar and fresh, I hope this music offers something of a delight to many enjoying the holiday!

VC Artist Cellist Pablo Ferrandez:

That's such a difficult question! It’s very hard to choose one piece or even one composer! If I have to pick one, I would say Rachmaninoff. His music has always sound to me like the most passionate and romantic there is.

Since I just recorded my CD "Reflections," which is filled with his music, he is the composer I feel the closest with nowadays. One of the songs in the album, "Z’des Khoroso," which translates to "how fair this spot" belongs to a cycle of songs that he composed to finance his honeymoon. I guess you could call that a romantic piece! 

VC Artist Violinist Sergey Malov:

I think Schubert is the most romantic one. More specifically. his Trio in E flat, so masterfully used by Stanley Kubrick in his "Barry Lindon."

Tanya Bannister — President of the Concert Artists Guild:

I love the final scenes from Strauss’ "Rosenkavalier" conducted by Carlos Kleiber. First of all, the music is sublime. Secondly, the idea of love, aging, and the changes that come to relationships with time ripe for heart-wrenching music.  I find the last scenes with the Marschallin heartbreaking, as she releases the man she loves to a younger woman. Of course, it’s not that simple and there is still love and tenderness towards the older relationship. The music is so soulful, self-aware, yearning, and perfect for Valentine’s Day!

The post VC VOX POP | "What Piece of Music do you Consider the Most Romantic and Why?" appeared first on World's Leading Classical Music Platform.

Violinist Frank Peter Zimmermann:

I am most thankful that me and my family did not get sick and that we did not get in trouble financially.

A constant insecurity was haunting me this year, but I must say that after 35 years of intense playing, I was happy to finally have some time to do things I've always wanted to do. I got to read  "Der Zauberberg" by Thomas Mann, walk along the "Rheinstieg" between Koblenz and Mainz, and start learning J.S.Bach's Sonatas and Partitas seriously.

President of M.L. Falcone, publicist Mary Lou Falcone:

I am most thankful for the gifts of patience and strength to weather the last 10 months which, for me, were filled with general and personal loss. 

My family and friends were a blessing as they reached out consistently, sharing love and kindness. 

Buffalo Philharmonic Concertmaster, VC Artist Nikki Chooi:

The COVID-19 pandemic has kept us physically away from our friends and audiences, but the silver lining through all of this is being a part of the many creative ways we are now connecting with each other.

Whether it is through watching our friends perform via livestream or catching up through zoom meetings and social media, what has kept us apart has hopefully brought us even closer together.

Violinist Vadim Repin:

I’m grateful that I had an unexpected sabbatical time to reflect upon and enrich my repertoire and to find and cherish the meaning of being at home and feeling the warmth.

Despite the chaos on our planet, my Transsiberian Festival took place with great success thanks to my amazing team, the wonderful artists, and real friends.

President and Artistic Director of the Sphinx Organization, Afa Dworkin: 

I am most thankful to be alive and present during this transformative year. The challenges imposed by the pandemic and the profound lessons from our continued collective journey toward racial justice reinforced my resolve and commitment to Sphinx's mission. Our community came together to perform, support, create, reflect, and lead, linking our hearts and voices despite the distance.

We saw record-high participation across the board, from our applicant pool growth by more than 60%, to quadrupling the number of artists in our orchestral training programs and reaching nearly 200,000 in digital audiences! It has also been a privilege to award more than $600,000 in artist grants and scholarships since May alone. 

The silver lining is in the many lessons of service, unity, and perseverance. Ultimately, I am grateful to be a part of such a sincere and committed family: here is to a healthy, joyous 2021!

Georgian violinist Lisa Batiashvili:

2020 was a year of new initiatives. One of them was helping and supporting young artists from Georgia, which became a real passion of mine.

I am grateful for all the talented people I've met and for my fellow colleagues who have opened their heart to share their experiences and knowledge with the new generation.

Executive and Artistic Director of Carnegie Hall, Clive Gillinson: 

Despite all the challenges this pandemic has presented to so many organizations, I am thankful for the incomparable commitment of the extended Carnegie Hall family to keep delivering on the Hall’s mission, bringing the transformative power of music to audiences everywhere. 

Through technology, we have continued to connect artists, teachers, and music lovers in meaningful ways. While digital performances will never replace the power and impact of live music, we have discovered exciting new approaches to serving audiences that we will be inspired to continue in the years to come.

American violinist Sarah Chang:

If 2020 has taught me anything, it's to not sweat the small stuff. I'm unbelievably grateful to all our healthcare and essential workers and look forward to doing my part in 2021.

New England Conservatory Pedagogue, Miriam Fried:

2020 was certainly trying in many ways, but I am truly grateful for having my family for their warmth, support, and humor.

There were also my wonderful students, who in spite of all obstacles, continued on their path with passion, dedication, and hard work, never letting me forget that music does feed our souls, and that we are lucky to have it.

Violinist and pedagogue Boris Kuschnir:

Despite all the difficulties in 2020, I was very thankful that my whole family including myself did not get COVID-19 and that my friends and students who unfortunately got the virus, had minor symptoms and are healthy again.

I’m very happy that because I had more free time due to the cancellations of concerts and masterclasses, I finished my PhD thesis about the executive and artistic challenges of performing Mozart's Violin Concerto No. 4 in D Major K 218.

Also, I found time to digitalize some old video recordings of the Vienna Schubert Trio in which I played for 8 years a long time ago.

Most importantly, I had more time for my family and took better care about myself.

Artistic Director of Menuhin Competition, Gordon Back: 

In 2020, I was most thankful for my family and my dog Millie!

Also, the wonderful Menuhin team in London and Richmond worked tirelessly to reinvent a Menuhin Competition for 2021.

Dallas Symphony Concertmaster, Alexander Kerr:

2020 was a challenging year for me physically, personally, and professionally. Despite its challenges, I can honestly say that I am thankful for many things: my health, my family and friends who helped me get through each and every day, my students who gave me such joy throughout the whole year, my physical therapist Tom who helped me rehab a broken collarbone in record time, and the CEO of the Dallas Symphony, Kim Noltemy, whose leadership has been both inspirational and unwavering.

Chairman of the Board of the Kronberg Academy Foundation, Raimund Trenkler: 

I am thankful for the power of cohesion, faith, and creativity of everybody involved at the Kronberg Academy during this pandemic. I appreciate the strong bonds and friendships created by so many people throughout our organization. 

Founder and President of Primo Artists, Charlotte Lee: 

I am deeply grateful that despite shuttered concert halls, the noise we made in 2020 filled the speakers of laptops throughout homes across the world, brought solace and joy to spirits that needed comfort, and catalyzed Congress to step up and give our field the relief we advocated for to keep doing what we do!

Violinist Maxine Kwok:

2020 has seen a decimation of the performing arts, the likes of which we’ve never seen. As many of us wondered what to do next, I’m so grateful for the online community of music lovers who supported all the incredible projects that were released by so many, including my own orchestra the LSO.

I’m so thankful to have had the chance to collaborate with composer Darren Bloom, filmmaker Antonia Luxem, and dancer Marie Astrid Mence in creating a short film called “Rising” about creativity and connectivity in London's lockdown.

Let’s hope we all stay so connected in 2021 as we negotiate a safe return to the concert hall. 

Founder of Getting to Carnegie Competition, "The Pianist With the Hair," Julian Gargiulo:

Through great difficulty and hardship, great new things are born. 2020 has been a year which brought the world closer together than ever before. I’m thankful for my friends and family who have helped me learn to appreciate this new world.  If the secret to happiness is low expectations, then I think we’re all in for a spectacular 2021.

The post VC VOX POP | Despite the Difficulties of 2020, What Are You Most Thankful For? appeared first on World's Leading Classical Music Platform.

I would like to communicate to my students with energy and motivation, helping them face the new difficulties of the music world, and explore the great potential of teaching online.

I would like to continue discovering the formidable intelligence of my teacher Jascha Heifetz in his scales system, which help make practicing a real joy.

I also intend not to increase the length of our everyday walk of ten kilometers in the forests and mountains around Salzburg with the dogs because they are getting tired...

Canadian violin soloist James Ehnes:

I want to do whatever I can to keep live music going in any way possible, and to keep myself and my colleagues working.

Founder of Kirshbaum Associates, publicist and artist manager Shirley Kirshbaum:

I don't want to take for granted the communal experience of a live performance shared with an audience. 

I would like to focus on possibilities and creativity, and lose the Covid pounds....

Violinist, violist, and conductor Maxim Vengerov:

In 2021, I am finally feeling ready to record all sonatas and partitas by Bach.

My second resolution is to lose some weight.

Vienna Philharmonic Concertmaster, VC Artist Fedor Rudin:

In 2021, I will invest more time and energy in mental and physical health activities, including practicing scales!

Founder and head of publicity at Bucklesweet, Amanda Sweet:

My resolution is to keep the creativity alive amongst my team and continue to find new and unique ways to promote our clients. I plan to work with others in the arts to help rebuild our industry and make it more sustainable.

Personally, this past year taught me to be more present in day to day life and less harried and reactionary. I’d like to take that into the new year. I also plan to get back into exercising more regularly and taking better care of myself. 

President & CEO of the Heifetz International Music Institute, Benjamin Roe: 

As tempting, and easy, it would be to write off 2020 as a “lost year” for all of us in the arts, my resolution for 2021 is to remember, nurture, and embrace the positive developments that occurred – whether they are craftily deliberate or crazily random in our world, communities, and especially within ourselves.

It is my hope that when the moment arrives for us all to reunite in the concert hall, our shared experience of these difficult days will make us better artists, and more importantly, better people.

Japanese violinist Mayuko Kamio:

I would like to give back to the community that raised me and supported me through the hell that was 2020!

Owner and President of Reuning & Son Violins, Christopher Reuning:

As I contemplate my resolutions for 2021 at the end of a most difficult year, I find myself looking back instead of forward and feeling both gratitude and sorrow for the year now ending. Gratitude is for the blessings of family and friends which were strengthened during challenging times. Sorrow is for the people so harshly affected by the pandemic, those on the front lines of the battle and those who are suffering in health or financial crises.

In my world, I am especially aware of the musicians whose lives and artistic expressions are so deeply affected. Nevertheless, the new year promises hope for fresh beginnings which will be more deeply appreciated because of the challenges we have endured.

President & CEO of Colbert Artists, Lee Printz: 

In such a crazy time, we all have a collective resolution to continue to weather this storm in our lives. A personal goal for me has been to try to be as supportive and encouraging to our artists and colleagues as possible. That will continue to be my biggest resolution into the new year. 

An important lesson I learned from our former owner, Charlotte Schroeder, is that our field is stronger together and I very much hope to continue that sentiment.

Canadian violinist Lara St John:

I would like to get a driver's license and teach my iguana to air conduct. I think he's coming along. He seems to like Mahler. 

Cellist Sophia Bacelar:

My resolution is to be kind, curious, and equilibrial — and to stop buying more books before I’ve finished those I’ve started (although that’s been a lifelong losing battle)!

Director of International Sales at J&A Beares, Maja Wegrzynowska: 

Until public concerts resume, I will continue to host classical music soirées at home as I strongly believe in the un-replicable magic of live performance and the importance of supporting artists.

I will also continue to match the owners of the finest instruments with talented musicians, introduce music lovers to this world of patronage, and facilitate long-lasting musical friendships, as we need joy in our lives more than ever!

The post VC VOX POP | What Are Your Resolutions for 2021? appeared first on World's Leading Classical Music Platform.

My experience at the Menuhin competition was something really unforgettable. Not only because it was the first major competition that I got a prize from, but also because I personally met Yehudi Menuhin, one of the greatest musicians in our music history. Meeting and playing for such a legendary person, whom I would normally only see on the CD cover, was already the greatest encouragement that a young violinist could receive. Additionally, shortly before he passed away, he had written a reference letter for me, what more could one ask for. 

Therefore, participating in the Menuhin Competition the very next year was already very emotional and meaningful. And to be able to be awarded a prize at the competition, surely gave me a lot of confidence to continue pursuing my dream in our wonderful musical world!

Yesong Sophie Lee, 2016 Junior Division, First Prize Winner:

The Menuhin Competition has been able to give me a completely new outlook towards my career and life. It was a significant event that made me see myself, as well as the world around me, in an entirely different perspective; it was as if I had been thrust into a whole other vortex! I have had so many experiences all over the world, like being able to play with great musicians, on great stages, and in turn, have realized the true beauty of music.

Not only did I receive great opportunities, the people that make the Menuhin Competition possible are so supportive, generous, and caring. I could not have asked for a better experience and I am so thankful that I was introduced to this competition.

Diana Adamyan, 2018 Senior Division, First Prize Winner:

The 2018 Menuhin competition played a significant role in my life. I couldn’t even imagine that I would have the opportunity to participate and win. Winning was very unexpected, and a real dream for me. After the competition, I have received several concert bookings in prestigious venues and festivals. With regard to this, I would like to express my gratitude to Becky Chilton, who successfully coordinated for me a range of important proposals, among them concerts in Germany, USA, Japan and the UK.

The 2018 Menuhin competition motivated me to face new challenges. I moved to Munich and started my studies with my beloved Professor Ana Chumachenco at Hochschule für Musik Und Theater. I hope this is just the beginning and I’m very happy to have had one of the most wonderful events, the Menuhin Competition, in my life!

Alexi Kenney, 2012 Senior Division, Third Prize Winner:

The Menuhin Competition was a deep learning experience for me. It was a myriad of personal firsts: my first and only international competition (scary!), my first experience playing a concerto with orchestra (very scary!), and my first time in China (fascinating and delicious).

Fast forward eight years to today, and that anxiety I felt in those unfamiliar situations has taught me how to better approach challenges in my life: with an open mind, perseverance, and resilience when things don’t quite go as hoped.

Jennifer Koh, 1989 Junior Division, Fourth Prize and 1991 Junior Division, Third Prize and Audience Prize:

Yehudi Menuhin was, and continues to be, a musical and personal inspiration. It was a great honor to meet him; and his support, when I was still a child, encouraged me to continue my musical studies.

Hrachya Avanesyan, 2006 Senior Division, First Prize Winner:

There’s so much to say about the role that this competition played in my life, but the most important aspect for me, in retrospect, was the preparation for it with my teacher Igor Oistrakh. This opened my eyes to what it really takes to compete at that level. From lessons which lasted 4-5 hours, to all the practicing, it was a determining moment for me as a violinist.

Additionally, just having moved to Europe from Armenia at the time, and not being connected in any way, the Menuhin competition opened some truly important doors for which I couldn’t be more thankful.

Simone Lamsma, 2002 Senior Division, Third Prize Winner:

The Menuhin Competition was one of my earliest international competition
experiences when I was 16, and my time there was one of immense learning
and emotion!

I have such vivid memories of the experience. I loved the diversity of
the repertoire. Two very special musical moments for me include my first
encounter with Schumann’s Second Sonata, and playing Mozart’s
Divertimento with Paul Watkins and Garfield Jackson during the
semi-finals.

I think back to the Menuhin Competition with great warmth and gratitude.
It was an experience I treasure!

Clara Shen, 2018 Junior Division, Fourth Prize Winner:

For me, participating in the Menuhin Competition was one of the most exciting and amazing experiences. Not only did it broaden my horizons, but it also gave me the opportunity to meet other top violinists from all over the world. As a prize winner, the Menuhin Competition supported my development with various concerts and performances for which I am very grateful.

But above all, it encouraged me to share the joy of music with the audience; which for me, is the key to touching people’s hearts.

Chloe Chua, 2018 Junior Division, Joint First Prize Winner:

I thought I was already very fortunate to be awarded joint first prize in the Menuhin Competition Geneva in 2018, but it was only until after the competition that I began to realize that it completely changed my life.

Since winning, I have received many invitations to perform locally and abroad, including the USA, China, UK, Germany, and Saudi Arabia. I have had the opportunity to attend music festivals, play in solo recitals, and collaborate with many renowned conductors, violinists, and orchestras. The Menuhin Competition has indeed groomed me to become a finer musician.

Anna JiEun Lee, 2012 Senior Division, Second Prize Winner and 2010 Junior Division, Third Prize Winner:

I was at the Menuhin Competition as a junior in 2010, and again as a senior in 2012. While both experiences were different in many ways, there were two core components which I've held dear to me to this day. Firstly, while we work hard to play our best, the greatest thing about competitions is seeing your friends and fellow musicians, plus eating great food wherever the competition is taking place! Secondly, both editions of the Competition introduced me to some incredible composers that, at the time, I was personally unfamiliar with, such as Piazzolla, Grieg, and Ole Bull.

For a young musician, being exposed to many different composers from different cultures, places, and historical eras can really shape the way that they learn to listen. I am incredibly grateful to the Menuhin Competition for being so supportive and playing such an important part in my artistic growth!

Natalia Lomeiko, 1993 Junior Division, Fifth Prize Winner:

Taking part in the 2002 Menuhin Competition, in Boulogne, was a life changing experience. The event had an electric atmosphere, with some of my idols amongst the judges, including Ida Haendel, Igor Oistrakh, and Erich Gruenberg. 

The rounds were incredibly tough, all taking place within a week with very demanding repertoire, and it prepared me well for the discipline and demands of life as a performer. To balance the intensity, I loved visiting the French coast in between rounds, and I'm happy to still be in touch with friends and mentors from all those years ago!

I have always loved Yehudi Menuhin’s sound, and it is very special to now be playing a beautiful Voirin bow that used to belong to him.

Timothy Chooi, 2014 Senior Division, EMCY Prize and 2010 Junior Division, Violin Prize:

Competing at this competition was an eye-opening experience, as I had mostly stayed around my hometown of Victoria, Canada, for most of my life. Meeting other people from around the world of different cultures and languages, and hearing how incredibly well they played, gave me goosebumps. I wanted to learn how to play as well as them.

To this day, I'm still in touch with many of these musical colleagues. Building this community at a young age has given me a network of musicians to connect with outside of my country, as we continue this life long journey as artists through thick and thin times.

Callum Smart, 2010 Junior Division, Fifth Prize:

Mayuko Kamio, 1998 Junior Division, Fourth Prize:

It was my first international competition and first trip to Europe, so it was terrifying! However, once I got there, the people in the small French town were quite nice, and Mr. Menuhin was a complete gentleman. I was picked to perform with an orchestra under his baton for the gala event, so it was certainly the highlight of the trip. My only regret is that I didn’t really have any time management skills, so by the time it was the final round, I had been totally worn out and somehow out of shape! Overall, a great memory!

Dambi Um, 2004 Junior Division, Second Prize:

The same year that I participated in the competition in 2004, I met Joseph Silverstein. I started studying with him, and he introduced me to the playing of many great violinists of the bygone “golden age.” I immediately fell in love with many of these artists, especially Fritz Kreisler and Christian Ferras. At the time, I came upon recordings of the young Yehudi Menuhin, as his name was very fresh in my mind from the competition. I have a vivid memory of how shocked and touched I was at hearing such incredibly soulful playing. I couldn’t comprehend how a youngster (or anyone for that matter) could weep through the violin, penetrating one’s soul with such throbbing and yearning sound.

I realized, as I have had doubts before, that I could in fact emotionally relate to certain kinds of violin playing, such as Menuhin’s, that is full of incredible amount of pathos. This has since guided me in how I would like to develop my playing style with different tones that can convey certain emotional meanings.

Rennosuke Fukuda, 2014 Junior Division, First Prize Winner:

The post VC VOX POP | “How Did the Menuhin Competition Change Your Life?” appeared first on World's Leading Classical Music Platform.

Emma Meinrenken

Although this pandemic totally threw me off the path that I saw for myself this year, I find that there are many things that I can be grateful for.

I became much closer with my parents and my friends in Toronto. With the new found time that I had over the summer, I learned to drive, picked up photography, and explored the beauty of the ponds and forests near my home. I learned fun and exciting music that I would have never touched had I not had this time, and the pandemic also gave me the unique opportunity to slow down and work on my technique, away from the craziness of school, competitions, and festivals.

Finally, I adopted a cat, who has brought me a lot of joy during the tougher moments in the last few months.

Eric Tsai

Back in March, I was feeling quite overwhelmed and a bit at a loss as to what to do in my musical journey. School had just shut down and most of us had gone back home to complete the semester virtually. As somebody who gets a lot of inspiration from physically being around live music-making, I felt drained and discouraged. I was wondering how I would continue to make progress when it seemed like the music world as a whole had come to a grinding halt.

However, I believe that I sorely underestimated the potential for new discovery and exploration that was only unleashed in the ensuing months of relative solitude. Although I wasn’t able to hear my friends practicing around me day and night, I was able to take some time to step back and re-evaluate myself as an artist. I was able to work on some technical issues that had been bothering me for some time. I even started working on a whole new batch of repertoire that I had wanted to learn. Looking back now, I see that it was those few months of having “nothing to do” that really unleashed my creativity and caused me to be able to look at my musical journey from a new perspective. 

It is often said that we are first artists, then musicians, then violinists. In my case, I think that the personal experiences and emotional journey that I went through over the summer really changed my artistry and musicianship. There is still a long way to go in terms of my violin playing, but I’m happy to have walked through this process, and I look forward to seeing how the positive effects will continue to play out in the months to come!

Hana Chang

I’ve truly come to value the abundance of time during this pandemic. It’s given me the freedom to explore new things both within and outside of music, and it’s pushed me to find inspiration in different parts of my life and surroundings.

Practicing without the usual strict deadlines has been refreshing, and I’ve been taking the time to learn new repertoire and find fresh approaches to older pieces.

I’ve also had the time to discover new books and study some German and French. In the face of this pandemic, I find myself incredibly grateful to be healthy, spending this time with family, and staying connected online.

Cherry Choi Tung Yeung

The pandemic has affected us greatly. We are no longer able to go to school, perform, or eat in public like what we used to do. Staying at home and doing classes through Zoom has become our “new normal.” I have been reflecting on what the pandemic really means to me. I realized that even though it has changed all our lifestyles, there are still some positive outcomes during this difficult time.

One of the positive outcomes is that I get to spend more time with my family. When the pandemic hit the United States in March 2020, I went back to Hong Kong. I have been here for more than 6 months, which is the longest I have stayed home since 2015. Previously, I only get to spend less than 3 weeks at home before going to festivals. 

Also, I get to do a lot of things that I have always wanted to do, but never had the time during the regular school year. I am able to read more, paint, learn more repertoire, cook for my family, and recently, I started learning how to play the viola. I try to do as much as I can to stay motivated and get the most out of this time.

Emily Shehi

I’m very grateful for Ms. Kavafian and our studio for putting together this project and the collection of solo violin pieces. Live performance is irrefutably irreplaceable in its immediacy, and I cannot wait to attend concerts and play with others in front of an audience again.

The way this pandemic has been handled in the United States has been nothing short of terrible, and is nowhere close to being over. Despite this, I am optimistic about the future of performing arts to continue to guide and provide solace from the horrors of the political and personal storms that lie ahead.

Eunseo Lee

When I came back to my hometown in Korea, I thought it would be for just a short break. After the situation and pandemic got worse, I realized that it would be hard to go back to school. The first thing I worried about was my playing. What if I could not play chamber music or orchestra anymore? Or what if I could not play with piano accompaniment? That made me really frustrated. Usually, I am happy when I come back home, but I was full of worries and fears. Over time, I slowly began to find out what I really needed and what made me happy and positive.

Listening to my favorite music, reading books, cooking, and baking are the things I've invested my time and energy into while social distancing. I FaceTimed with my friends who are all in different places, but I feel we connected so much more because of this situation.

During this pandemic, I felt there were advantages and disadvantages. Sometimes there is frustration, worries, and anxiety but music really helps me a lot. Playing music, practicing my own music, and expressing myself makes me release stress. I'm really getting to know myself and digging into my music. 

Hannah Tam

During the pandemic, instead of joining various musical activities overseas as I usually do during the summer, I stayed home most of the time. I continue to treasure the time with my family as we enjoy every moment together.

Additionally, I have learned a lot of repertoire since March. I have studied and practiced a numbers of pieces in different styles that I never thought I would have enough time to finish.

Although I am still 15, the pandemic has taught me that we should not take our health for granted. I exercise every day and keep my diet balanced. I hope we can overcome the pandemic soon.

Haram Kim

The pandemic caused the world to panic, giving many of us anxious and vacant feelings throughout this time. However, this period actually motivated me to do things I could never do in regular life.

To start off, there were a number of activities I approached, such as improving my piano skills, studying some composing techniques, deeply analyzing pieces, and even trying out new cooking recipes.

This was an opportunity for me to realize the many things that existed around me that I often treated carelessly. These situations may vanish soon or come back, but nonetheless, we should try to make our time meaningful.

Jenny Jin

Although there are countless hardships from the pandemic, one positive aspect is that it brought people together differently than ever before. Fighting for the same cause gave us a common goal, something that we can all share. I think that’s a very rare and powerful thing.

For me personally, a positive outcome was that I realized the value of surrounding yourself with people you love. It reminded me, once again, to always be thankful for the people beside you.

Karisa Chiu

I have learned an incredible amount about myself during this pandemic, and I discovered that one of the most positive outcomes of it all is simply time. Time to reflect on things that were pushed aside during our regular busy lives, time with family, time to dedicate to health and fitness, time to focus on relationships.

With words such as “social-distancing” and “quarantine” being the norm these days, I am guilty of assuming that this will equal isolation and loneliness. In actuality, my relationships have only gotten stronger as the months pass by because we rely on each other to get through this.

With everything this pandemic has taken, it has given us something else: appreciation. More than anything, I miss sharing my music with others as well as hearing other artists perform. I know that when I get back on the stage, or sit in the audience of a concert hall, I will appreciate it more than ever before.

Lun Li

I feel privileged to say that my life seems normal. This crisis gives me all the time I need to make plans for my future. I finally have a chance to sit down and think through all the decisions that will potentially affect my trajectory. I also have explored my musicality; without the pressure from all the deadlines, I took the time to explore and reach out of my comfort zone repertoire wise, adjust different possibilities in my set-up, and challenge myself with energy demanding music.

Luckily I am still partially dependent on my family, so I don’t have any real responsibilities to take care of. I find that this is the perfect time for us to reflect on all the damages we’ve exerted. Hopefully, COVID is an end, not just the beginning of the variations.

Maya Buchanan

I often find myself feeling sort of trapped and caged in my life as a classical musician. It’s easy to become burnt out, especially at a time like this when I’m not able to collaborate and share music with others.

I decided to take this time to open myself up to new things and figure out what else I love to do, as opposed to just forcing myself to do something that I honestly wasn’t really enjoying. During the pandemic, I’ve been able to hone some other interests and found alternative, meaningful ways to express myself. I realized that just because I’m not good or innately skilled at something, that doesn’t mean I can’t or shouldn’t do it! 

I’ve really enjoyed drawing (more like scribbling) and singing to myself. I think that by diving into these other art forms that I’m not super comfortable with, my violin playing has really improved in a much more meaningful and important way than just playing more in tune. It’s been really liberating, and I’m genuinely finding a lot more joy in just playing and respecting music as opposed to constantly striving to be perfect!

I also think the pandemic has really forced all of us as classical musicians to be innovative in the ways we share ourselves and our music with others. I’ve been able to meet and work with some amazing musicians that I probably wouldn’t have crossed paths with otherwise. So yes, the pandemic has taken away a lot of amazing opportunities, but it has also presented me with a lot of cool projects like this one.

Michael Shaham

The pandemic made the world experience something no one alive has experienced before. I think there are some good outcomes.

To begin with, I obviously had more free time, with no concerts and no commitment to prepare new repertoire. I had the chance to “relearn” violin playing and go back to the basics with more depth.

More importantly, I think the pandemic can affect humanity in positive ways. After this crisis is over, I believe people will be kinder to each other and not take many things for granted.

Danny Jin

I’m sure the pandemic has been a hard time for everyone. To be honest, it has been a hard couple of months for me too. Originally, I found it difficult to try to think of something positive, but after some thought, some memories and positive outcomes came to mind.

One thing is that some of my relationships grew stronger. I was with friends for most of quarantine and we learned to cope with the pandemic as a group. I also had the time to think about life in general and ways in which I can improve not just as a musician, but as a person as well.

Jieon Park

I have learned a lot from this COVID-19 time. I had many difficulties taking lessons and learning because I couldn’t take classes face-to-face with my teachers, but it was a great chance to ask myself a lot of questions about how to express my music.

I made an effort to complete my new solo piece and I hope that people will be happy to hear my performance. My wish is that they will not be frustrated and have hope. Thank you for listening to my music.

Youjin Lee

Throughout this pandemic, I had to become more independent from my teacher, my colleagues and the school's facility (large rehearsal space, chamber music, practice space).

Of course, my studio remains very supportive, and I feel thankful that we could meet through Zoom, but it isn’t the same as in-person activity.

I find myself listening to what I see, hear and feel as musician and person in this world. And I believe that this circumstance will make me even stronger over time. Nonetheless, I can’t wait to see each other in person!

The post VC VOX POP | "What Are The Most Positive Outcomes of This Pandemic?" appeared first on World's Leading Classical Music Platform.

Cellist Gary Hoffman:

Undoubtedly the most memorable CMS rehearsal was many years ago with David Golub, the late and great pianist. We were to play the 5 Beethoven sonatas in one concert at Tully Hall, but the East Coast and much of the US was snowed under. He was stuck in New Orleans, following a concert, and could not get to NY until the afternoon of the concert. We met onstage at Tully, played the beginnings of a couple of the sonatas, looked at each other, said “What’s the point? We’re not going to play the whole program now and all over again in a few hours! See you tonight!"

Violist Paul Neubauer:

During a tour rehearsal with CMS on 9/28/1999 in Charlottesville, Virginia, my wife, violinist Kerry McDermott, went into labor with our first child! My colleagues thought I could play the concert and drive home, but the midwife said I needed to come back ASAP. Luckily, the violist Toby Apple was able to step in, but he arrived a bit late to the concert so they played the Ravel Introduction and Allegro with the few viola solos passed around to different instruments. In the meantime, I was able to get to the hospital in time to see my son, Oliver, born at 11:39PM!

Clarinetist David Shifrin:

I'd have to say that my most memorable rehearsal with CMS was the first rehearsal for a concert in Alice Tully Hall in October of 1982. The occasion was the special gala performance in honor of Alice Tully's 80th birthday. The piece we were rehearsing was Schubert's monumental Octet. The players were violinists Jamie Buswell and Lynn Chang, violist Walter Trampler, cellist Leslie Parnas, bassist Alvin Brehm, bassoonist Lorin Glickman and hornist Myron Bloom. Generally, the more players there are in a rehearsal (especially such distinguished musicians at CMS), the greater the potential for disagreement on tempo, style, interpretation, intonation, balance and so on. To me, it seemed like being thrust into a feisty congressional debate, except in the case of our Octet, we were able to come to a meeting of the minds over the course of a few days and the result was glorious!

Violist Matthew Lipman:

My most memorable CMS rehearsal was on Faure's Piano Quartet No. 1 with violinist Augustin Hadelich, cellist Clive Greensmith, and pianist Inon Barnatan in May, 2018. Of course, I was starstruck to be in their presence, but I also remember how fresh rehearsals seemed. Rather than concern ourselves with trying to play together or get certain notes in tune, we discussed phrase lengths, how to expand our color palettes, and what the deeper meaning was of each section. Unforgettable!

Violinist Alexander Sitkovetsky:

I find it really impossible to choose one specific rehearsal that stands out during my years with CMS. There are so many wonderful experiences that I cherish from all of the music making that we have done together, that it’s impossible to name just one. I will say that the the rehearsals and the long tour that we did leading up to the performance of the Schoenberg was definitely a big highlight. Over two weeks, we felt our interpretation getting better and better throughout, culminating in our New York performance, which I still remember like it was yesterday. The spirit in that group was absolutely fantastic and we all had such a great time together. All of us still talk about that trip so fondly.

Pianist Orion Weiss:

Thanks for asking! Rehearsing at CMS is always filled with inspiration, laughter, learning, experimentation, and joy. If I had to pick just one rehearsal out of all that I can remember right now, I'd choose last November's dress rehearsal in the Rose Studio of Messaien's Visions de l'Amen. I was playing that epic two piano piece with one of my closest friends and favorite musicians, the pianist Michael Brown. We had been working so hard on it, but it was in that rehearsal that it all came together. That day we were working with a lighting designer on a complex lighting scheme to accompany the music - the idea was to bring Messaien's conceptions of the connections between sound and color to vivid life. As the lights made subtle shifts of blue into red and red to green, the incredibly dense and esoteric music came into sudden and brilliant focus for me. It was absolutely thrilling. (and the concert was even more thrilling!)

Violinist Chad Hoopes:

I’ve had many fun rehearsal memories during my time with CMS. From the very first rehearsal, I instantly felt a part of this musical community that has helped me cherish chamber music in a deeper way. We recently played Appalachian Spring Suite by Copland, and someone in the group made a suggestion with “Copland himself told me to play it this way.” I’m continuously inspired by my friends and colleagues at CMS and feel lucky to be a part of something so significant in the world of music!

Violinist Bella Hristova:

This is a difficult question to answer since there have been many memorable moments over the years, but one of them would have to be from nearly a decade ago when I played Schoenberg’s Verklärte Nacht with my dear teacher Jaime Laredo, Paul Neubauer, Beth Guterman, Sharon Robinson, and Gary Hoffman. It’s one of my favorite pieces of chamber music, and such a moving and passionate piece. It was especially meaningful for me to play it with these inspiring colleagues, and this was one of the first times I got to perform with Jaime after graduating from school. I’ll add that for us playing the music, the rehearsal process can be just as memorable as the performance itself!

Violinist Sean Lee:

My most memorable CMS rehearsal was at the house where Antonín Dvořák was born. We rehearsed the third movement of his "Dumky" Trio, which has some of the most pure and innocent moments of music. I could imagine baby Dvořák in that very room while we played, and it was so touching!

Cellist Keith Robinson:

My most memorable rehearsal was the very first rehearsal for a tour that featured Verklarte Nacht by Schoenberg. We showed up on a Sunday afternoon in NYC and I distinctly remember that the start time was "iffy" as Sasha Sitkovetsy was flying in from London that same day. The Schoenberg changes tempos frequently and has directions in German almost every other bar, so it's not an easy piece to sit down and play through. Even though I am sure all of us had played the piece several times, none of us had played it together. It was such a memorable "first performance" of the piece for me, despite it being just the first rehearsal. I was so blown away by my colleagues' performance that I went back to my hotel and practiced several hours in the hopes of trying to keep up! My wonderful colleagues were Sasha Sitkovetsky, Sean Lee, Richard Oneill, Matthew Lipman, and David Finckel.

Pianist Alessio Bax: 

The post VC VOX POP | “What Was Your Most Memorable Chamber Music Society of Lincoln Center Rehearsal?” appeared first on World's Leading Classical Music Platform.

“I’ve been asked to sign things that are WAY out of my comfort zone (!)"

Violinist Sarah Chang:

“Will you marry me. Ha!"

Cellist Jean-Guihen Queyras:

“When you play, is it only about the story and emotions, or also about technique?”

Violinist VC Artist Noah Bendix-Balgley:

“I’ve been asked to sign some strange things in autograph lines...My jaw dropped when someone asked me to sign ON their violin! I declined (though my colleague went through with it!)."

Emerson Quartet Violinist, Philip Setzer:

“A man came up to me after a concert once and said, 'I liked your playing, Mr. Drucker'. I said 'Thanks, but I'm Mr. Setzer'. He said 'No!' and reached into his pocket to show me his program and prove to me that I was wrong. Thankfully, the program and I were both correct in this case."

Cellist Gary Hoffman:

“The strangest I know was asked of one of my brothers: 'Excuse me, does one spell it Schubert or Schumann?' Difficult to answer that one!"

Violinist VC Artist Josef Spacek:

“It wasn't a question from a fan, but during a live radio interview. I was asked, whether I play both the violin and the piano at the same time during the Janacek Sonata :)"

Violinist VC Artist Augustin Hadelich:

“Where did you get that magnificent head of hair?”

Violinist Nemanja Radulovic:

“I will keep that one for myself 😀 ''

Verona Quartet Violinist, VC Artist Jonathan Ong:

“It’s not strange per se, but an elderly lady once asked us if we would read the Mozart Quintet with her, as it was her birthday wish. We are setting up a reading session now!''

Violinist Nicola Benedetti:

“I have no idea, nor memory. Most things that are really, really strange are actually too abstract to remember!''

Violist VC Artist Matthew Lipman:

“Are you a closeted violinist?”

Dover Quartet Violinist, VC Artist Joel Link:

“I was once asked if I played American football ... it was very out of the blue and wasn’t connected to any sports conversation!"

Violinist Viviane Hagner:

“When touring with my sister, pianist Nicole, who works full-time as a medical doctor, she often makes remarks about her 'next shift in her real job'. When they ask me about my real job, I can‘t quite reply…''

Violinist Lara St John:

“Were you a linebacker in a previous life?” (I’m not kidding)

Violinist Glenn Dicterow:

“I would have to say someone requesting me to play a song (Devo) called 'Whip It' for an encore. I had never heard of this song and know that even if I had I would have crashed and burned trying to play it."

Violinist VC Artist Tessa Lark:

“If I like bees..."

Violinist VC Artist Angelo Xiang Yu:

“How many girlfriends do you have?"

Aizuri Quartet Violinist, Maho Sahegusa:

“When the quartet performs: 'Do you all live in the same house?'"

Aizuri Quartet Violist, Ayane Kozasa:

“When asked about the quartet: 'Who’s the leader in your quartet?'"

The post VC VOX POP | “What’s the Strangest Question You’ve Been Asked by a Fan?” [Q&A] appeared first on World's Leading Classical Music Platform.

The Violin Channel recently caught up with 30+ of the Heifetz International Summer Institute's 2020 faculty members and students to find out …

Atar Arad, Heifetz Institute Viola Faculty:

"1. The actual success of a virtual institute (due to its leadership’s huge amount of optimism and countless hours of preparation) ... 2. The pleasure of teaching for two weeks wearing shorts"

David Geber, Heifetz Institute Chamber Music Coach:

"Virtual coaching of nineteen string quartets was initially challenging, but over two weeks, student learning accelerated dramatically ... the quartets' aural skills developed rapidly from absolute necessity, resulting in examples of razor-sharp virtual ensemble playing ... many new and improved skill sets will impact both recorded and live performances in the future"

Daniel Pettrow, Director of Performance and Communication Training at The Heifetz International Music Institute:

"One of the major benefits of participating in a virtual summer institute is the ability to inhabit a digital space that tends to allow for more uninhibited participation ... I've observed that a majority of students are discovering a greater freedom of expression within this online environment"

Anabella Lenzu, Performance and Communication Training Faculty:

"This is my 3rd time teaching at The Heifetz Institute and I am celebrating 30th year as a dance educator ... I was highly surprised by the focus, commitment, and enthusiasm of all the students I taught virtually this year ... being at home made all of us share our vulnerability, our private spaces, and our art in a deeper way!"

Juliet Denman, 15, from Telluride, Colorado:

"The style of music that I’m so passionate about is old fashioned, and doesn’t require the internet or even electricity ... but the fact that I’m able to communicate in depth with my musical idols across the world makes it the best use of the internet that I have ever experienced! ... It's obvious how much everyone cares about our safety and it's amazing how warm the connections are, despite being through the internet"

Yeh Chun Lin, 20, from Tainan City, Taiwan: 

“The benefit that I thought is really interesting ... My family and I always plan to have a small trip every weekend ... Because of the virtual summer institute so I could bring my laptop and instrument with me everywhere for my classes ... I’m really happy to have a different summer this year. Thank you Heifetz 2020!''

Bobby Park, 14, from New York: 

"I got to learn that I could communicate and build friendship even though the camp was virtual ... I think it is essential and crucial to know that it is not me or anybody, but we are a team trying to make Heifetz Virtual Institute a happy place and a learning opportunity for all people ... The most important thing that I learned is that there must be a trusting bond and patience in order to make any accomplishments with fellow camp students, teachers, and faculty"

Vincent Garcia-Hettinger, 15, from San Antonio, Texas:

"The virtual platform gives us more flexibility in our schedule, more opportunities to record, and more exposure to music software such as Garage Band ... The Heifetz Institute has done a lot of great preparation to make this virtual Institute a really great experience for all of us"

Keshav Srinivasan, 16, from Austin, TX:

"I believe the flexibility and freedom of a virtual summer institute is really unique, as I am able to make great music and learn so much from the comfort of my home, which is a refreshing experience"

Adam Savage, 16, from Port Saint Lucie, FL:

"Being able to spend quality time with family while being able to participate in music learning and performance ... Recording (As well as all that goes with it) has also been very beneficial, because recording In a studio is a very important aspect of a musician’s life"

Angela Rubin, 21, from Rochester, NY:

"I am very impressed with how immersed I feel in the program, even while sitting in my home! ... I am learning from and still experiencing the core in person components of the summer festival ... It has been very enjoyable to be a part of a quartet, even while collaborating virtually!"

Clara Saitkoulov, 21, from Paris, France:

"I never could have imagined such an amazing experience at the virtual 2020 Heifetz International Music Institute ... In addition to the incredible private lessons we get twice a week, the communication training is something I am getting a lot from ... Stage presence class, drama class, movement class, talking in public class: these are actually topics that we actually don’t discuss in Music Conservatories ... Moreover, the Institute is doing an incredible job making us feel we belong to a strong community even through technology"

Loxea Hipsky, 16, from Guilford, Indiana:

"Because of the way that we are putting together chamber music pieces, I have learned so much this summer about how to splice together and edit recordings ... I think that this is a valuable skill to have and I would not have had the opportunity to develop it during an in person camp"

Sofiya Kyrylyuk-Catron, 21, from Kiev, Ukraine:

"Attending a virtual music institute has really helped expand my technological knowledge in the world of recording ... Nowadays, it’s so important to put yourself out there on social media, and recordings are a vital part of this ... Being able to record and edit yourself helps the musician be more in control over the final outcome"

Ross McIntosh, 21, from Laramie, WY:

"My ear has improved immensely in a way that only lots of recording, listening back, and being very picky about what I hear could make it - I'm learning to listen to myself in new ways"

Alexandra D’Amico, 23, from Boston, MA:

"I’ve gotten so much more comfortable using recording equipment and software ...  In lessons and studio classes, we are also experimenting with tools that will help us perform more effectively through a screen ...  Many of these performance techniques will also help us be more convincing performers when the concert halls open again"

Alec Tonno, 23, from Chatham, NJ:

"Putting together chamber music using GarageBand and layering the parts has unexpectedly increased my awareness of how the parts interact and who is supposed to be lining up with whom, as I cannot see the person and can only hear their recording"

Pierce Wang, 17, from Fremont, California:

"One of the benefits that I did not expect was the ease of participation in the Heifetz Symposiums ... While normally I would be quite nervous about talking in the physical space, I am much more comfortable online (partly because I go to an online school) ... In addition the chamber experience has been very intense but also very (and perhaps unexpectedly) rewarding"

Joseph Mostwin, 17, from Baltimore, MD:

"Taking part in the Heifetz Virtual Institute this summer has been a wonderful experience so far ... Lessons with amazing teachers feel just as intimate and impactful, and the various performing opportunities that the Institute provides for us are not only helpful, but enjoyable as well"

Jacob Shin, 18, from Fort Lee, NJ:

"While technology can curtail some effects of the social isolation that’s resulted from this pandemic and allow us to access resources from the comfort of our homes, one is still required to maintain a certain level of discipline and communication in order to make their time worthwhile at Heifetz"

Sophia Molina, 17, from Miami:

"Participating in a virtual summer institute has completely changed my perspective on music ... When attending rehearsals and recording virtual concerts for chamber music, one must focus on the bigger picture rather than getting caught up on all the little details ... We have had to adjust the way we phrase the music in order to still tell a complete story and engage the audience, but without the ability to adapt to one another and execute every single phrase marking that is written in the music, due to the nature of technology, that takes away the extra sparkle that is found only one live performances ... Attending this camp has made me realize that virtual performances can still be magical and have that extra sparkle, as long as you learn to adapt and work with the tools that you are given"

Carlos Rafael Martinez Arroyo, 21, from Córdoba, Spain:

"To have the feeling that you belong in that environment is such an exciting thing, since the sense of Community and the level and care of everything is excellent"

William Johnson, 15, from Issaquah, WA:

"Some of the unexpected benefits I met with were mainly to do with online collaboration ... When doing this, I really had to listen to others, as well as learn the score better and it has really helped me understand what I am playing on a deeper level!"

Haena Lee, 20, from Cochrane, Alberta, Canada:

"One of the unexpected benefits that I got during the virtual institute is that I gained knowledge to work with some of the technologies such recordings of videos or audios, that is not only useful for right now but in the future as well ... By learning the tools of technology it will help me to prepare and present myself better through the media"

Rafael Rock, 18, from Los Angeles, California:

"The Virtual Institute has given me a unique opportunity to connect and collaborate with my peers around the world and gain experience in recording music through an exclusively online platform"

Tal McGee, 24, from Spring, TX:

"Heifetz supplies many helpful resources for learning during this time. This online festival has provided an intense musical environment from the safety of my home during this difficult time"

Bianca Ciubancan, 14, from Chicago, Illinois:

"I am very happy to be a part of the Heifetz virtual summer institute ... There are many benefits I encounter, such as becoming savvier with tech-related subjects ... And of course, there are unlimited benefits of the musical aspects of the camp ... I get to work with and learn from wonderful teachers who expand my musical abilities ... I learn from my peers through chamber music, which is quite different ... Yet, it still enhances the learning experience ... The communication classes have really helped me to deal with nerves and to just be aware of my body and feelings ... All in all, Heifetz is not only developing my musical skills but is also turning me into a better person"

Olena Kaspersky, 19, from Los Angeles:

"I never knew how much I could improve not only as an ensemble player but also as a soloist with the technological skills I have learned at Heifetz"

Sophia Torres, 18, from Miami Beach:

"I really didn't expect the sense of community that I’ve felt so far this summer ...  It was hard to imagine feeling connected to others over a screen, but the community that the Heifetz Institute offers is completely undeniable"

Eunha Kim, 19, from Campbell, California:

"Though joining a virtual festival initially seemed detached compared to a physical camp, the global communion of students and faculty from 9 different time zones makes this festival unique ... It makes it easier getting up at 6:30 AM for a studio class knowing that the immense talent and musical wisdom from all over the world will inspire you during this difficult, lonely time"

Steven Baloue, 20, from Chicago, IL:

"Learning how to record different types of video and audio projects and sharing them and collaborating with people on other sides of the country or the world has been much more interesting than I originally thought"

Chieh yu Chung, 15, from Taoyuan, Taiwan:

"At first I was afraid that my English was not good enough and I couldn’t communicate with others smoothly ... After several practices, although I still didn’t speak very well, I gradually became more confident because the teachers and classmates in Heifetz are all really really nice ... Not only don’t they blame me, but also patiently teach me! So I love Heifetz Music Institute very much!"

The post VC VOX POP | "What Are the Unexpected Benefits of Participating in a Virtual Summer Program?'' appeared first on World's Leading Classical Music Platform.

The Violin Channel recently caught up with a number of long-standing Orpheus Chamber Orchestra members to get the T ...

Violinist Renée Jolles

"In 2003, Orpheus had a tour to nine cities in the US and Canada with pianist Richard Goode as our soloist. This was a brutal tour, however-long travel days on the day of each concert, on the road by about 7 AM day after day. For some crazy reason, I had decided to take my six-month old son with me, lining up a babysitter during concert time in every city! (This was something I rarely did; usually my children stayed home with my husband.) Between the late nights and early mornings, nearly everyone was exhausted, but to me, the schedule felt normal-just like life with a baby!

When we arrived in Urbana, IL, I decided to take a walk with the baby despite the threat of strong winds. The sun was bright, so I tossed my glasses into the cup holder on the stroller to put on sunglasses. At that moment a super strong gust of wind came along, lifted my glasses out of the stroller, and I watched helplessly as they sailed far away, out of reach forever! A couple of hours later, there I was onstage in the beautiful Krannert Center, self-consciously performing in sunglasses and evening dress alongside Richard Goode. At the reception, many audience members enquired solicitously if I was wearing sunglasses because of an eye infection!

The memory of this tour is particularly apt at the moment, because, unfortunately, the SARS pandemic was at its high point in Asia during that time. Frighteningly, our plane home from Vancouver came directly from China, raising concerns about contagion. At the airport I was advised not to travel with an infant, but staying in Vancouver indefinitely was not an option with two young children still at home and a full concert schedule ahead! The passengers from Asia, all wearing masks and eerily silent, remained on the plane as we embarked in Vancouver. Especially with an infant in my arms, it was scary to contemplate how close we were to catching a deadly disease. We had to have our temperatures scanned upon return to the US and walk on a disinfectant mat, but, thankfully, all of us remained healthy. For most of us who grew up with vaccinations being commonplace, this was our first experience with a disease which spread so quickly around the world. Although I am thankful that we are being so careful during our current pandemic, I am very much looking forward to being able to play concerts again soon!"

Cellist James Wilson

"We all know travel can sometimes be a carnival hall-of-mirrors! Orpheus cellists always have an extra seat to take their instruments onboard a plane. On one tour a couple years ago, the seats for the Orpheus cellos were mistakenly canceled, except in my case where I was canceled, and the cello got to go onboard. Sometimes I feel like my cello owns me, but.....really?"

Hornist Stewart Rose

''Orpheus performed at SUNY Potsdam in 2006 with a program including one of our “New Brandenburg ” premieres. As we were about to take the stage to begin the concert, the fire alarms in the building went off and everyone had to evacuate the premises. With the audience, musicians and staff safely out of the building, it was discovered the cause was not a fire at all. Turns out the soloist was in his dressing room taking a steamy shower, which activated the alarm. After about 30 or so minutes we all re assembled and played the concert''

Violinist Liang-Ping How

"Playing orange blossom special in a Chinese restaurant in India after a loooong bus ride by me, a Taiwanese and Guillermo a Puerto Rican with an American orchestra from USA. Talk about racial harmony"

Violist Christof Huebner

"At the intermission of one of our concerts several of us had taken off our black jackets. When it came time to go back on stage, I grabbed what I thought was my jacket and we continued with the performance. After the concert had concluded one of my colleagues approached me backstage and asked whether I might have put on his jacket by accident. Turns out I had! The only problem was that I am several sizes smaller than this particular colleague who told me that he had struggled with feeling he had been “straightjacketed” during the performance since the jacket had been quite a bit too small. We both had a good laugh about it!"

Cellist Eric Bartlett

"Sally and I have been married now for almost 34 years. We met at Marlboro in the summer of 1978, but this tour in March of 1983 was the first time we were thrown together again after performing together at Marlboro. We were secretly falling in love, while being very discreet. No one knew, or so we thought. And we weren’t the only two people who were seeing a lot of each other on the tour.

That year, 1983, I bought one of the very first portable hand-held computers. The computer came with a programming language, and.just like the cellphone of today’s youth, that gadget was rarely out of my sight or out of my hand.

It was my very first Orpheus tour, but the orchestra had been on big tours before. There was already a tradition that the tour ended with a party at which awards were given. The awards were, of course, a bit tongue-in-cheek and meant to be funny. Ronnie Bauch was the MC for the awards, and he came up with inventive awards like, “The Portofino Waitress Watcher Award,” and “The Joseph’s Amazing Technicolor Dream Socks” award. We did some skiing in Austria on that particular tour, and there was even an award for “The Biggest Crash since 1929.” But he always saved the best for last, the “Best Couple” award.

As Ronnie approached the end of the faux ceremony, a few of the illicit couples started to squirm, knowing that the final award was imminent. “And the award for Best Couple….” Ronnie intoned, while looking meaningfully around the room. Various members of the orchestra, deliberately not sitting together, started fidgeting nervously .. "goes to Eric….''

Really? He’s really going to say it? He’s going to say it like he really knows? I mean, we didn’t actually TELL him, but he is really close to Sally, so maybe he just can tell?

''.....and ………….his computer.''

Violist and Emeritus Member Sarah (Sally) Clarke

"Vitamin P - Orpheus 1979 Tour

In the early days, Orpheus traveled all over Europe by bus, and we didn't mind the long drives between Italian or Spanish or German towns. One famous story took place in Italy… 

It was the coffee that did in our bass player, Donald Palma. The morning of our flight to Tel Aviv we all piled on the bus and headed to the Milan airport, but we got into a terrible traffic jam on the highway, everything coming to a dead stop. There was no way for the driver to get off the road and find a gas station with a bathroom. Don began to panic, the pressure becoming unbearable. We all searched the bus and our carry-on belongings for a container into which he could pee.

Cheryl Minor, a violinist, dug out of her bag a huge bottle of multivitamins, enough for this seven-week tour. In a most generous and heroic gesture she emptied the hundreds of pills into her bag and handed the empty bottle to Don whose seat mate held up a coat for privacy and he was able to relieve enough of the pressure to make it to the airport.

Our bus was so late for the flight that we drove straight onto the runway, right up to the plane, bypassing security all together. (This is something that would never be allowed now but it was 1979 and in Italy things were much looser.) We clambered out of the bus, carrying our instruments and bags and up the stairs into the plane.

Don had his big double bass and a backpack and the bottle of P. What to do it? Uncomfortable with the thought of bringing it onto the airplane, he delicately placed it down on the tarmac. As we all found our seats and put our instruments in the overhead bins Cheryl glanced out the window.

“Oh No, you’ve got to see this!” She cried, alerting all of us. Four airport police cars, red lights flashing had zoomed from the terminal and surrounded the vitamin bottle. Cautiously they stepped out of their cars and gingerly examined the bottle.

“Oh Lord,” we whispered to each other, “they think it’s a bomb. What a surprise they’re going to have when they open it up!”

The police took the bottle, wrapped in some kind of black material, and sped back to the terminal. We all looked sheepishly at each other and then shaking with barely controlled laughter and giggles, we returned to our seats and flew off to Israel.

Thus ends the story of Vitamin P"

The post VC VOX POP | “What's the Funniest Thing That Ever Happened To You on an Orpheus Tour?’’ [Q&A] appeared first on World's Leading Classical Music Platform.

The Violin Channel recently caught up with 30+ of the world’s top string players to find out …

Australian Soloist, VC Artist Violinist Ray Chen:

“Lots of stuff  ... I still have to get around to the Barber and Korngold Violin Concertos ... I’ve lived in the States for over 10 years now I really ought to pay tribute to my adopted country"

Canadian Violin Soloist Lara St. John:

“Oooooh tons ... but I am intrinsically lazy, and can't do anything without a goal ... so please, someone ask me for the Britten, Weill and Schoenberg ... I'm a fast learner!"

Time For Three Violinist, VC Artist Charles Yang:

“I've never played the Carl Nielsen Violin Concerto but I think it's a really cool piece! ... I'd love to learn it!"

VC Artist Cellist Kian Soltani:

“ALOT! ... Prokofiev Sinfonia Concertante to name one ... but there is so much I want to learn still ... you can ask me this question when i'm 80 years and I'd still have an answer!"

Curtis Institute Faculty Member, Violinist Ida Kavafian:

“Glazunov Concerto"

Buffalo Philharmonic Concertmaster, VC Artist Violinist Nikki Chooi:

"Bartok Solo Violin Sonata"

Dallas Symphony Concertmaster, Alexander Kerr:

"I would love to delve into both the late Beethoven Quartets and the Bartok Quartets"

Russian-American Violin Soloist Philippe Quint:

"Many pieces actually ... I have not played Berg, Britten, John Adams, Glass or Ligeti yet - next season I will bring Szymanowski 1 and Bartok 1 into my repertoire ..."

British Cello Soloist Steven Isserlis:

"Ooh, lots of pieces! .... in theory, that is - in practice I hate learning new things … but quite a bit more chamber music, a few more solo pieces, and hopefully some new music that has yet to be written ... "

Cellist Zuill Bailey:

“The Bach Cello Suites ... a never-ending journey."

French Violinist Augustin Dumay:

“I have just commissioned a concerto by a young composer named Jean-Frédéric Neuburger ..."

Veteran New England Conservatory Cello Pedagogue, Laurence Lesser:

“Dutilleux Cello Concerto"

Canadian Violin Soloist James Ehnes:

"Corigliano’s violin sonata ... I have to play it in 2 months, so I’d better get to work"

Violinist Anne Akiko Meyers:

"Future commissions including a new violin concerto from Adam Schoenberg and Huang Ruo ... and cadenzas for the Beethoven Concerto by Wynton Marsalis ..."

Italian-German Soloist, VC Artist Violinist Augustin Hadelich:

"I just started working on Bernstein's 'Serenade' ... it’s a beautiful and extremely entertaining piece that is rarely played outside of the US ... I try to add at least one new work every season ..."

Korean-American Violin Soloist Sarah Chang:

"So much! The violin rep is endless ... I would love to work with more living composers"

Violin Soloist Arnaud Sussman:

“I'm starting to learn Korngold Violin Concerto ... I enjoy listening to the piece and I have never studied it before so I decided to add it to my repertoire .."

American Soloist, VC Artist Violinist Stefan Jackiw:

"So many ... Just recently I fell in love with Janacek Violin Sonata ..." 

VC Young Artist Violinist In Mo Yang:

“It would be much easier to list what I have already learned ... for now, I really want to learn the Schumann Violin Concerto ..."

Berlin Philharmonic Concertmaster, VC Artist Violinist Noah Bendix-Balgley:

"Many important pieces of the violin repertoire are on my list .... top among them are the Berg Violin Concerto and Bartok Violin Concerto No. 2"

VC Artist Violinist Tessa Lark:

“Bartok Solo Sonata"

VC Artist Violinist Benjamin Beilman:

“There are tons of pieces I want to learn but top of my list is Bartok Solo Sonata"

VC Artist Violinist Paul Huang:

“I still have so many repertoire that are waiting for me to discover"

VC Artist Violinist Igor Pikayzen:

“The opportunity to play Chausson's Concerto for Violin & Piano keeps evading me ...  as does the "Four Seasons" of Piazzola ..."

VC Artist Violinist Fedor Rudin:

“Both Shostakovich Concerti ... I was born in Russia, my grandfather became a composer because Shostakovitch advised him to do so ... and my family lived in the Soviet Russia that Shostakovitch describes in his music ... I want to learn more about this and I hope to be able to understand this music ... "

VC Young Artist Violinist Kerson Leong:

”I would love to learn and perform Britten Violin Concerto in the near future ..."

VC Artist Violinist William Hagen:

"There are many pieces that I think are amazing that I haven't had the chance to play yet .... Dvorak Concerto, Glazunov Concerto, Barber Concerto, Schönberg 'Verklarte Nacht', Brahms G Major Viola Quintet, Beethoven Kreutzer Sonata ... I'm absolutely itching to play these!"

The post VC VOX POP | “What Piece of Repertoire Do You Still Want to Learn?” [Q&A] appeared first on World's Leading Classical Music Platform.

The Violin Channel recently caught up with 30+ of the world's top string players to find out ...

Violin Virtuoso Itzhak Perlman:

“I’m totally against it ... there’s nothing I can do about it but not only is it not right, it doesn’t represent what is being heard in its true form ...”

British Cello Soloist Steven Isserlis:

"No! ... partly because it’s going to sound so awful ... and partly because it means that they’re not really listening ..."

Canadian Violin Soloist James Ehnes:

"No ... this is a complicated issue with a lot of nuance ... but my short answer is no..." 

Australian Soloist, VC Artist Violinist Ray Chen:

"As much as I love social media and embrace everything about the 21st century, when people record live concerts on their phones it does make me slightly uncomfortable ... I start thinking thoughts like “Oh no, what if I mess up? Will I have to deal with it being on the front page of Violin Channel?" ...'

Italian-German Soloist, VC Artist Violinist Augustin Hadelich:

"I understand why many people would want to make a video of a concert they’re enjoying ... and I’m ok with it if it’s just a personal memento ... it bothers me when the videos go on YouTube though ... as the quality of the sound of cell phone videos is usually not so great ..."

Canadian Violin Soloist Lara St. John:

"Well, only if it's from a flattering perspective .... and they then tag me ..."

German Violin Soloist David Garrett: 

"Yes and no ... on one hand social media is a big part of today's world ... you have to understand that it's part of the business ... however, I'm not a huge fan of it ... I believe that music should be enjoyed in the moment ... maybe I'm too old or too old-school?"

Time For Three Violinist, VC Artist Charles Yang:

" ... I am grateful that they do ... my view and perception on stage is very different than what the audience sees and hears ... so it's always great to come across a bootleg recording of myself ..."

VC Artist Violinist Igor Pikayzen:

"I don't mind if they take photos or even record a small part of it for themselves, or their friends, but I do mind if it ends up on social media without getting my permission first ..."

VC Young Artist Violinist Kerson Leong:

" ... I think it's a fact of life in today's world that someone is bound to be recording something during a performance with their cellphone ... even without you knowing ... "

VC Artist Cellist Kian Soltani:

"I certainly don't like it during sonatas or big works... but if it's an encore and you want to get your phone out ... then why not!"

Russian-American Violin Soloist Philippe Quint:

"I am not ok with it as so many times it is done during a first rehearsal with an orchestra, where we are all working out many details ... those frequently end up on YouTube within 24 hours and are very difficult to remove ..."

New England Conservatory Faculty Member, Violinist Paul Biss:

"I would ban cellphones from the concert hall ... the screens are a distraction for all ... the live concert is a special experience and it should not be diluted ..."

Curtis Institute Faculty Member, Violinist Ida Kavafian:

"That is creepy ... what if I mess up? ... however, it is a sign of the times and one we must live with ..."

Veteran New England Conservatory Cello Pedagogue, Laurence Lesser:

"Nothing I can do to stop it if I don’t know about it ... but it would be good if it didn’t happen ..."

Curtis Institute Violin Pedagogue, Aaron Rosand:

"I have no control over audiences recording performances ..."

Korean-American Violin Soloist Sarah Chang:

"Nooooo ... not cool ...!"

American Soloist, VC Artist Violinist Stefan Jackiw:

" ...only if I'm playing well at that moment ..."

British Violin Soloist Nicola Benedetti:

"The feeling created by the classical concert hall is something of a rarity, and I don't like anything that disturbs or dissipates the intensity of it ... in saying that, the person saying shhh often creates more of a disturbance than that of the person they're shh-ing ..."

Berlin Philharmonic Concertmaster, VC Artist Violinist Noah Bendix-Balgley:

"I don't think recording a classical music concert with a cellphone is appropriate ... first of all, it really disturbs the performers ... and part of the magic and excitement of a live concert is to be in that moment ..."

Dallas Symphony Concertmaster, Alexander Kerr:

"NO!!!!! ... performing is difficult enough as it is, but when every note you play may end up on YouTube, it brings an unneeded stress ..."

Metropolitan Opera Orchestra Concertmaster, VC Artist Violinist Nikki Chooi:

"No ... however, I am ok with people recording in a more informal setting such as during rehearsals or run throughs ..."

Milwaukee Symphony Concertmaster, Frank Almond:

"It’s kind of a reality now, and I don’t mind small clips ... I do have a problem with someone recording an entire piece or performance and assuming it’s ok to just post it anyplace ... "

VC Young Artist Violinist In Mo Yang:

"I am ok with it ... I have done it many times ..."

VC Young Artist Violinist William Hagen:

"Yes ... I think that I am ... I think that if they do it in a way that doesn't distract others .... and if they sincerely want to capture the moment and have good intentions ... it's fine"

VC Artist Violinist Tessa Lark:

" ... I like the idea of designated tweeting/social media areas in the audience because that allows millennials to do their thing without distracting others ...  I wish that anyone wishing to share their recordings online would contact the artist first though ... for two reasons: for permission, because sometimes it is simply illegal ... but also for collaboration, in case it's good, so more people can share!"

French Violinist Augustin Dumay:

"No I am not ... this is, at best indelicacy ... at worst robbery ..."

American Violin Soloist Anne Akiko Meyers:

"No ... someone has observed that today people document their lives with photos and videos rather than live them ... live the moment at concerts ..."

VC Artist Violinist Paul Huang:

"No, it is very distracting ... especially when they are recording from the first row ..." 

VC Artist Violinist Bella Hristova:

"No ... it's a distraction for me but even more a distraction for other people in the audience who just want to enjoy the music ..."

VC Young Artist Violist Timothy Ridout:

"No, unless I know it’s going to happen because it’s just distracting ..."

VC Artist Violinist Angelo Xiang Yu:

"... I won't be yelling at someone if they record my performances ... but I feel sad for them, as they've neglected to use their best camera (their eyes) and their best microphone (their ears) ... and instead choose to use something that is far less magical and beautiful ..."

Violin Soloist Arnaud Sussmann:

"No, I personally don't like it ... I think that part of the beauty of performing and listening to music is the connection that happens between the performer and the audience ..."

Cellist Zuill Bailey:

"I was not happy at first about the use of cellphones at concerts ... but I have learned to accept it ..."

The post VC VOX POP | "Are You Ok Being Filmed on a Cell Phone During a Performance?" [Q&A] appeared first on World's Leading Classical Music Platform.

Cellist Steven Isserlis:

"Piatigorsky ... whom i first met when i was 15 ... I might have been more star-struck on my first proper meeting with Rostropovich, but he was eating his breakfast at the time - which made him seem more human ..."

Violinist James Ehnes:

"Plenty! ... None more so than Isaac Stern - who I met as a little boy after a concert in Canada ... "

Violinist Lara St. John:

"Glenn Gould ... I was 5 and already knew he was a really important musician  .... when he didn't shake my hand, I cried ... "

Violinist VC Artist Benjamin Beilman:

"Janine Jansen ... I was seated next to her at a dinner recently and spent the entire night trying not to geek out too much ..."

Violinist VC Artist Tessa Lark:

"The most serious fan-girl moment for me was when I met Leonidas Kavakos .... he actually introduced himself to ME ... and my first words to him were: "Oh my God.. you're my hero!"

Violinist VC Artist Augustin Hadelich:

"About 3 years ago, I ran into Murray Perahia at the airport ... I’ve been a big fan for many years, but I couldn’t think of anything interesting to say ..."

Violinist VC Artist Ray Chen:

"Itzhak Perlman - because he’s a living legend ... and Janine Jansen - because she’s "Girl On Fire/ YAAAS Queen” .... Yo-Yo Ma ... I tried to play cool when I met him but then he undermined my whole thing by being more excited to meet me ..."

Violinist VC Artist Angelo Xiang Yu:

"Itzhak Perlman ... when we shook hands, my hand literally disappeared into his huge palm ..."

Violinist VC Artist Igor Pikayzen:

"I can't say that I was ever star struck, but I do remember doing my best not to stare at Itzhak Perlman the whole time during my Juilliard audition ..."

New England Conservatory Faculty Member, Violinist Paul Biss:

"I met Leonard Bernstein when I was 10 ... the charisma that he had was unparalleled in my experience ... "

Curtis Institute Faculty Member, Violinist Ida Kavafian:

"Not in the last 35 or so years ... before that, Nathan Milstein and David Oistrakh ..."

New England Conservatory Faculty Member, Cellist Laurence Lesser:

"I’d have to say Jascha Heifetz - he was somewhat scary and very unpredictable ... I played and recorded chamber music with him and that feeling never diminished ..."

Violinist David Garrett: 

"Star-struck no, but for the people I admire I always have a feeling of very strong respect ... such as for my teachers Itzhak Perlman, Isaac Stern and Ida Haendel - even after we got very close and knew each-other well ..."

Violinist VC Young Artist In Mo Yang:

"When I was 7, I saw Sarah Chang playing the Tchaikovsky Concerto in Seoul and I was completely in awe ..."

Korean-American Violin Soloist Sarah Chang:

"Yes. Isaac Stern and Yo-Yo Ma"

Berlin Philharmonic Concertmaster, VC Artist Noah Bendix-Balgley:

"I was quite star-struck the first time I met Yo-Yo Ma .... and meeting Cecilia Bartoli after going to her concert was a thrill ..."

Dallas Symphony Concertmaster, Alexander Kerr:

"Without a doubt! .... Aaron Rosand, Henryk Szeryng, Yo-Yo Ma, Itzhak Perlman, Pinchas Zukerman, Leonard Bernstein ... just to name a few ..."

Violinist Augustin Dumay:

"Nathan Milstein, Arthur Grumiaux, Herbert von Karajan, Seiji Ozawa, Iván Fischer and Maria João Pires ... I met each of them on stage ..."

Violinist Anne Akiko Meyers:

"Arvo Pärt, Wynton Marsalis and Tony Bennett..."

Milwaukee Symphony Concertmaster, Frank Almond:

"The closest was probably Yo-Yo Ma ... but he was so kind and normal and generous that I honestly thought it was sort of an act ... but it wasn’t ... he is one of my favorite people - musician or not ..."

Violinist Philippe Quint:

"Meeting Isaac Stern and Itzhak Perlman was quite intimidating ..."

Cellist Zuill Bailey:

"Mstislav Rostropovich made me very star-struck ... 1988, I was 16 years old ... he was truly larger than life..."

Violinist Arnaud Sussmann:

"Definitely the first time I met Itzhak Perlman when I was 16 years old ..."

Violinist VC Artist Paul Huang:

"Mischa Maisky and Anne-Sophie Mutter"

Violinist VC Young Artist Kerson Leong:

"There have been many ..."

Violinist VC Artist Fedor Rudin:

"Rostropovich ... as much musically as humanly..."

Violinist VC Artist Nikki Chooi:

"Pinchas Zukerman - back in the day when I met him through an internet video broadband connection for a lesson ..."

Violinist VC Artist Stefan Jackiw:

"Christian Tetzlaff and Gidon Kremer"

Cellist VC Artist Kian Soltani:

"Certainly when i met Daniel Barenboim for the first time ... but i had to audition for him right after so it wasn't the best time to seem shocked..."

Time For Three Violinist, VC Artist Charles Yang:

"Still can't get over the fact I spent 6 years studying with one of my all-time idols, Glenn Dicterow ... "

VC Young Artist Violinist William Hagen:

"I get totally star-struck when I meet anybody that I admire .... Itzhak Perlman, Pinchas Zukerman, Christian Tetzlaff, Steven Isserlis, Valery Gergiev, Gustavo Dudamel, Gidon Kremer... but I have learned that everyone is actually very normal ... we're all just individuals"

The post VC VOX POP | “Are There Any Classical Musicians Who've Made You Star-Struck?" [Q&A] appeared first on World's Leading Classical Music Platform.

The Violin Channel recently caught up with 30+ of the world’s top string players to find out …

Violin Virtuoso Itzhak Perlman:

"Beethoven Violin Concerto ... Brahms Second Symphony ... Brahms Clarinet Quintet"

British Cello Soloist Steven Isserlis:

“Oy vey - what a cruel thought .... Am I allowed ALL the Beethoven sonatas plus the Schumann and Dvorak concertos? .... But then - what about the Faure sonatas and piano trio ... the Haydn concertos ... the Schumann trios ....I think I’d just end it all …”

Canadian Violin Soloist James Ehnes:

“Mendelssohn Concerto ... Bach D Minor partita .... and probably one of the Beethoven Quartets ... Maybe 132 ...”

Italian-German Soloist, VC Artist Violinist Augustin Hadelich:

“I would be miserable playing only 3 pieces ... regardless of how good they are ... but if I was forced to do it, it would be Brahms Concerto ... Bach Sonatas and Partitas ... and Schubert Cello Quintet ... ”

Korean-American Violin Soloist Sarah Chang:

“Brahms Concerto ... Shostakovich 1st Concerto .... and anything and everything Bach ... ”

Australian Soloist, VC Artist Violinist Ray Chen:

“Bach Chaconne ... Shostakovich Violin Concerto No. 1 ... Beethoven Violin Concerto ... "

VC Artist Dover Quartet 1st Violinist Joel Link: 

"At the moment  I would say .... Schubert's Cello Quintet .... Bach's Sonatas and Partitas .... and Beethoven's Op. 130 with the Grosse Fugue ..."

American Cellist & The Chamber Music Society of Lincoln Center Co-Artistic Director David Finckel:

“Brahms concerto .... Franck Sonata ... Ravel Piano Trio ..."

Canadian Violin Soloist Lara St. John:

“Well, I'd jump off a cliff if that became the case .... to me, boredom is worse than death and I try to avoid both ..."

VC Young Artist Violist Timothy Ridout:

“Mozart Sinfonia Concertante ... Brahms Viola Sonata ... impossible to decide with one .... and Mozart Divertimento in E flat ... "

VC Rising Star Violinist Johan Dalene:

“Brahms Violin Sonata no 1 ... Tchaikovsky Violin Concerto ... Mendelssohn Octet”

Czech Philharmonic Concertmaster, VC Artist Josef Spacek:

“Beethoven Violin concerto .... Bach 'Chaconne' .... and Dvorak Cello Concerto”

Emerson String Quartet Violinist, Philip Setzer:

“Schubert Cello Quintet .... and Beethoven String Quartets Op. 131 and Op. 132 ... ”

VC Artist Attacca Quartet Cellist, Andrew Yee:

"Beethoven String Quartet op 131 ... Haydn Seven Last Words .... and screw you for making me choose ...."

VC Young Artist Cellist Zlatomir Fung:

“Bach Cello Suite Number 5 .... Poulenc Cello Sonata .... and the Mendelssohn Song without Words opus 109!"

VC Young Artist Violinist Richard Lin:

“Brahms Violin Concerto .... Bruch Scottish Fantasy ... Tchaikovsky Violin Concerto...”

VC Artist Violinist Nikki Chooi:

“Beethoven, Sibelius and Barber Violin Concertos ... ”

Dallas Symphony Concertmaster, Alexander Kerr:

"Wow ... That's a tough question! ... If I would have to pick three individual pieces ... Bach's St. Matthew Passion ... Brahms' Fourth Symphony ... and Beethoven's Quartet Op. 135 ... "

New York Philharmonic Principal Cellist, Carter Brey:

"Impossible to say ... "

American Soloist, VC Artist Violinist Stefan Jackiw:

“Beethoven Op. 131 Quartet ... Ives Violin Sonata No. 1 ... and Schumann Dichterliebe ... sung in the shower ... "

TwoSet Violinist, Eddy Chen:

"Tchaikovsky Violin Concerto ... Mozart Violin Concerto 5 ... Bach Solo Sonata No.1 ..."

TwoSet Violinist, Brett Yang:

“Andante from Bach's Solo Sonata No.2  ... Brahms Hungarian Dance No. 5 and .... Paganini Jingle Bells ... there’s going to be Christmas every year ... "

VC Artist Violinist Angelo Xiang Yu:

“Beethoven Violin Concerto ... Brahms Clarinet Quintet ... Schubert String Quartet in G major”

Russian-American Violin Soloist Philippe Quint:

"Beethoven Violin Concerto ... Sibelius Violin Concerto and Brahms Violin Concerto ... I would feel very fulfilled with those 3 ..."

English Violinist Tasmin Little:

“Brahms Violin Concerto ... Franck Sonata and Ravel Piano Trio ..."

Dutch Violin Soloist Simone Lamsma:

"That is so hard ... to play ... Schubert String Quintet ... Bach Chaconne ... and .... Beethoven Violin Concerto .... and to listen to .... Strauss 4 Letzte Lieder ... Mahler 9 ... and Schubert String Quintet"

Violinist & Fashion Model Filip Pogady:

“Bach Solo Partita No.2 ... Beethoven Violin Concerto ... and Tchaikovsky Violin Concerto ..."

London Symphony Orchestra First Violinist “Queen of Bling” Maxine Kwok-Adams:

"Mahler's 9th Symphony ... Strauss - Don Juan  ... but not in an audition situation though ... and Prokoviev's 5th Symphony ...”

VC Young Artist Francisco Fullana:

"Mozart Divertimento ... Brahms Violin Concerto ... and Schubert's Death and the Maiden ..."

The post VC VOX POP | “If You Could Only Play 3 Pieces for the Rest of Your Life, What Would They Be?” [Q&A] appeared first on World's Leading Classical Music Platform.

The Violin Channel recently caught up with 20+ of the world’s top string players to find out …

British Cello Soloist Steven Isserlis:

“Impossible to say ... but I do think that among cellists, Daniil Shafran was unfairly overlooked for most of his performing life ..."

Canadian Violin Soloist James Ehnes:

“Hard to say ... Bronislaw Gimpel is a violinist whose playing I really enjoy ..."

Australian Soloist, VC Artist Violinist Ray Chen:

“Philip Hirschhorn  ... violinist who won the Queen Elisabeth Competition in 1967 ... his live recording of the Paganini Violin Concerto makes me so relieved we didn't compete in the same year ..."

Canadian Violin Soloist Lara St. John:

“Rachmaninov as a pianist ... "

VC Young Artist Violist Timothy Ridout:

“It's very difficult to say a definite answer ... however I think that the cellist Daniil Shafran was a genius and is hugely underrated ..."

VC Young Artist Violinist Johan Dalene:

“My father, haha..."

Czech Soloist, VC Artist Josef Spacek:

“Hard to say ... maybe Váša Příhoda ..."

Emerson String Quartet Violinist, Philip Setzer:

“The great violinist ... and my teacher ... Oscar Shumsky"

VC Young Artist Cellist Zlatomir Fung:

“One of the living performers that I feel deserves much more recognition is cellist Marie Elisabeth Hecker ..."

VC Young Artist Violinist Richard Lin:

“Aaron Rosand"

VC Artist Violinist Nikki Chooi:

“Hungarian violinist, Anton Kontra  ... I recently came across his recordings and videos for the first time and I was blown away by his virtuosity, artistry, and versatility ..."

Dallas Symphony Concertmaster, Alexander Kerr:

"Arthur Grumiaux ... what a beautiful musician .... and I would bet that only a handful of music lovers would even know his name ..."

New York Philharmonic Principal Cellist, Carter Brey:

"I won't risk an answer to that ..."

American Soloist, VC Artist Violinist Stefan Jackiw:

“Cellist Michael Nicolas ... the man is a genius ..."

TwoSet Violinist, Eddy Chen:

"Brett Yang"

TwoSet Violinist, Brett Yang:

“Any classical musicians who plays music for the sake of art ..."

VC Artist Violinist Angelo Xiang Yu:

“There are many ... and among them I would say ... Leonid Kogan and Toscha Seidel ..."

Russian-American Violin Soloist Philippe Quint:

“There is one.... but so underrated that I can't recall the name...”

English Violinist Tasmin Little:

“Tricky to choose ... however I do think that Ida Haendel should have had a bigger career than she did ... she was in the same league as many of her male colleagues, but didn't quite make it to the really highest echelons ..."

London Symphony Orchestra First Violinist “Queen of Bling” Maxine Kwok-Adams:

"This is a tough one ... I personally think there are lots of underrated musicians out there who through no fault of their own are perhaps deemed not particularly marketable by agents or record labels or who are not particularly media savvy ...”

The post VC VOX POP | “Who is the Most Underrated Classical Musician of All Time?” [Q&A] appeared first on World's Leading Classical Music Platform.

The Violin Channel recently caught up with 30+ of the world’s top string players to find out …

British Cello Soloist Steven Isserlis:

“Well, not Faure’s Libera Me! ... Probably some Bach ... or maybe Schumann’s Rhenish Symphony ...  anyway, I’m sure that the decision wouldn’t be mine ...”

Canadian Violin Soloist James Ehnes:

“I was already standing up at the altar to start the wedding, but my wife walked down to the 2nd movement from the Bach double ... played by our friends”

Italian-German Soloist, VC Artist Violinist Augustin Hadelich:

“No idea … maybe Stravinsky Suite Italienne ....?”

Korean-American Violin Soloist Sarah Chang:

“Anything but violin music ...”

Australian Soloist, VC Artist Violinist Ray Chen:

“I'm definitely ill prepared to answer the question ... as I've been spending most of my life not thinking about the piece I'm walking down the aisle to ... but rather the type of food I'm going to have at the reception ..."

American Cellist & The Chamber Music Society of Lincoln Center Co-Artistic Director David Finckel:

“Well, I’m very happily married and don’t plan on doing it again, but ... the orchestral interlude known as the Shepherd’s Music from Bach’s Christmas Oratorio is the first work that comes to mind ..."

Canadian Violin Soloist Lara St. John:

“The Rite of Spring ...”

VC Young Artist Violist Timothy Ridout:

“I haven't given it a great deal of thought yet ... hopefully I will be able to give a better answer in a few more years!!"

VC Young Artist Violinist Johan Dalene:

“Widor Tocatta F Major ...”

Czech Philharmonic Concertmaster, VC Artist Josef Spacek:

“We were lucky to have a full orchestra at our wedding made up of all of our friends ... we walked to two pieces ... Mascagni's Intermezzo for the bridal party ... and Elgar's Salut d'Amour for the beautiful bride ..”

Emerson String Quartet Violinist, Philip Setzer:

“The Andante from the A minor Sonata for Solo Violin by J. S. Bach”

VC Young Artist Cellist Zlatomir Fung:

“I'm a classicist here ... the Mendelssohn Wedding March!”

VC Young Artist Violinist Richard Lin:

“2nd movement of the Tchaikovsky Symphony No. 5”

VC Artist Violinist Nikki Chooi:

“John Cage 4'33”

Dallas Symphony Concertmaster, Alexander Kerr:

"At the wedding of my friend Eric Kim and his wife Stacey ... I performed the Andante from Bach's A Minor Solo Sonata ... it was a beautiful idea"

New York Philharmonic Principal Cellist, Carter Brey:

"The recessional at my wedding was the last movement of the Bach C major Sonata for Solo Violin ... played superbly by my good friend Joseph Swensen ..."

American Soloist, VC Artist Violinist Stefan Jackiw:

“'O Fortuna ... from 'Carmina Burana ... '"

TwoSet Violinist, Eddy Chen:

"Could change anytime in the future ... but if you asked me now, probably Ravel string quartet first movement ... Or maybe some Joe Hisaishi ..."

TwoSet Violinist, Brett Yang:

“Pachelbel's Canon ..."

VC Artist Violinist Angelo Xiang Yu:

“I will let my better half decide ...”

Russian-American Violin Soloist Philippe Quint:

“John Cage's 4'33" ... so I can hear the vows clearly ...”

English Violinist Tasmin Little:

“If I ever get married again, I'd choose something pop ... not classical this time around ... Maybe some Barry White ..."

Violinist & Fashion Model Filip Pogady:

“...IF that ever happens, I'd say some grand movement of a Mozart mass in a major key ... "

London Symphony Orchestra First Violinist “Queen of Bling” Maxine Kwok-Adams:

"We chose the exotic location of Cebu for our wedding ... and the planner asked if I'd like classical or traditional Filipino music ... I went with the latter ...”

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