Playing Archives - World's Leading Classical Music Platform

Violinist Eszter Haffner on Finger Relaxation

THE VIOLIN CHANNEL — Tue, 23 May 2023 17:18:37 +0000

Over the next few weeks, The Violin Channel will present a ten-part educational teaching series by violinist Eszter Haffner produced by Jargar Strings, entitled "Sound Sessions."

Eszter will cover topics including posture, left and right-hand technique, bowing, breathing, harmony and structure, and interpretation.

In today’s sixth video, Eszter discusses finger relaxation.

Join us over the coming weeks, and be sure to share the videos with your own students and friend!

Previous Episodes:

Having Good Posture

Left Arm Position

Perfect Sound

Left Hand Square

Tone and Echo

Born in Budapest, Hungary, in 1969, Eszter Haffner studied for 13 years in the Gifted Musician Class at the Budapest Liszt Ferenc Music Academy with Andras Kiss, Ferenc Rados, and György Kurtag. She then attended the University of Music and Performing Arts in Vienna to study with Gerhard Schulz ( Alban Berg Quartet) and Josef Sivo. In 1995, she completed postgraduate study in Holland with Viktor Libermann and Philip Hirschhorn.

She has been a prize winner in numerous international competitions: Concertino Praha, Koncz Violin Competition Hungary, Jugend Musiziert, Stephanie Hohl Vienna, International Chamber Music Competition Trapani, and Caltanissetta Italy.

Since 2002, she has served as a Professor of Violin at the KUG University of Music Graz, Austria, and since 2010, also at the Royal Academy of Music Copenhagen, Denmark. As a guest professor, she regularly taught at Royal College London, Liszt Academy Budapest, Aurora Stockholm, Sibelius Academy Helsinki, etc. She has also served as a violin and viola instructor at Neuberger Seminare, Casals Festival France, Danish Strings, Macau, and Hong-Kong Festivals, among others.

Her recordings reflect her pervasive musical range, covering chamber and concerto works from Haydn to Eisler.

Eszter plays the 1750 "ex Hamma Segelmann" Violin by Michelangelo Bergonzi on loan to her of the Austrian Nationalbank. She is a member of Haffner Strings, Haffner Trio, and "Aurora Chamber" in Sweden. She is a consultant for the Organisation Live Music Now, Vienna, founded by Lord Yehudi Menuhin. You can learn more about her, here.

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Violinist Eszter Haffner on Tone and Echo

THE VIOLIN CHANNEL — Tue, 16 May 2023 17:40:37 +0000

The Violin Chanel presents a ten-part educational teaching series by violinist Eszter Haffner produced by Jargar Strings, entitled "Sound Sessions."

Eszter covers topics including posture, left and right-hand technique, bowing, breathing, harmony and structure, and interpretation.

In today’s fifth video, Eszter discusses tone and echo production.

Join us over the coming weeks, and be sure to share the videos with your own students and friend!

Previous Episodes:

Having Good Posture

Left Arm Position

Perfect Sound

Left Hand Square

Her recordings reflect her pervasive musical range, covering chamber and concerto works from Haydn to Eisler.

The post Violinist Eszter Haffner on Tone and Echo appeared first on World's Leading Classical Music Platform.

Violinist Eszter Haffner on the Left Hand Square

THE VIOLIN CHANNEL — Wed, 10 May 2023 15:10:27 +0000

The Violin Chanel presents a ten-part educational teaching series by violinist Eszter Haffner produced by Jargar Strings, entitled "Sound Sessions."

Eszter covers topics including posture, left and right-hand technique, bowing, breathing, harmony and structure, and interpretation.

In today’s fourth video, Eszter discusses the left hand's square.

Join us over the coming weeks, and be sure to share the videos with your own students and friend!

Previous Episodes:

Having Good Posture

Left Arm Position

Perfect Sound

Born in Budapest, Hungary, in 1969, Eszter Haffner studied for 13 years in the Gifted Musician Class at the Budapest Liszt Ferenc Music Academy with Andras Kiss, Ferenc Rados and György Kurtag. After completing her studies in Hungary, she came to the University of Music and Performing Arts in Vienna, Austria, to study with Gerhard Schulz ( Alban Berg Quartet ) and Josef Sivo. She received her Diploma with unanimous distinction and a prize from the Department of Culture Vienna. In 1995, she completed postgraduate study in Holland with Viktor Libermann and Philip Hirschhorn.

Since 2002, she has served as a Professor of Violin at the KUG University of Music Graz, Austria, and since 2010, also at the Royal Academy of Music Copenhagen, Denmark. As a guest professor, she regularly taught at Royal College London, Liszt Academy Budapest, Aurora Stockholm, Sibelius Academy Helsinki, etc. Other teaching experiences include being an assistant to Prof. Gerhard Schulz and violin lecturer at the University of Music in Vienna, as well as being a violin and viola instructor at Neuberger Seminare, Casals Festival France, Danish Strings, Macau and Hong-Kong Festivals, among others.

Her recordings reflect her pervasive musical range, covering chamber and concerto works from Haydn to Eisler.

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Violinist Eszter Haffner on Achieving the Perfect Sound

THE VIOLIN CHANNEL — Wed, 03 May 2023 05:41:03 +0000

Over the next few weeks, The Violin Channel is presenting a ten-part educational teaching series by violinist Eszter Haffner produced by Jargar Strings, entitled "Sound Sessions."

Eszter covers topics including posture, left and right-hand technique, bowing, breathing, harmony and structure, and interpretation.

In today’s third video, Eszter discusses the elements of a perfect sound.

Join us over the coming weeks, and be sure to share the videos with your own students and friend!

Previous Episodes:

Having Good Posture

Left Arm Position

Her recordings reflect her pervasive musical range, covering chamber and concerto works from Haydn to Eisler.

The post Violinist Eszter Haffner on Achieving the Perfect Sound appeared first on World's Leading Classical Music Platform.

Violinist Eszter Haffner on the Left Arm Position

THE VIOLIN CHANNEL — Wed, 26 Apr 2023 05:09:31 +0000

Over the next few weeks, The Violin Channel will present a ten-part educational teaching series by violinist Eszter Haffner produced by Jargar Strings, entitled "Sound Sessions."

Eszter will cover topics including posture, left and right-hand technique, bowing, breathing, harmony and structure, and interpretation.

In the series' second video, Eszter discusses the left arm position.

Join us over the coming weeks, and be sure to share the videos with your own students and friend!

Previous Episode:

Having Good Posture

Her recordings reflect her pervasive musical range, covering chamber and concerto works from Haydn to Eisler.

The post Violinist Eszter Haffner on the Left Arm Position appeared first on World's Leading Classical Music Platform.

Violinist Eszter Haffner on Having Good Posture

THE VIOLIN CHANNEL — Tue, 18 Apr 2023 21:06:53 +0000

Over the next few weeks, The Violin Channel will present a ten-part educational teaching series by violinist Eszter Haffner produced by Jargar Strings, entitled "Sound Sessions."

Eszter will cover topics including posture, left and right-hand technique, bowing, breathing, harmony and structure, and interpretation.

In today’s first video, Eszter discusses the key elements of good posture.

Join us over the coming weeks, and be sure to share the videos with your own students and friend!

Her recordings reflect her pervasive musical range, covering chamber and concerto works from Haydn to Eisler.

The post Violinist Eszter Haffner on Having Good Posture appeared first on World's Leading Classical Music Platform.

How to Best Prepare for Orchestral Auditions

THE VIOLIN CHANNEL — Tue, 15 Nov 2022 17:08:40 +0000

Orchestral auditions can be a daunting task for many aspiring professional musicians and VC readers were keen to know how to best prepare for them.

Conductor Daniel Raiskin, the Music Director of the Winnipeg Symphony and Slovak Philharmonic, and violinist and concertmaster of the BBC Symphony Orchestra, Igor Yuzefovich were happy to share their expert advice.

The two will also present a workshop for young artists on the art of preparing for orchestral auditions through the North Shore Chamber Music Festival's Onstage/Offstage Series on November 20th. Audiences can watch the workshop on The Violin Channel at 12 PM CDT.

Raiskin and Yosefovich, veterans of auditioning musicians for their orchestras, will cover what conductors and concertmasters are listening for in your audition and how to mentally, and physically, prepare for auditions.

Daniel Raiskin & Igor Yuzefovich — How to Best Prepare for Orchestral Auditions

1. Listen to and learn the pieces that the excerpts are taken from - Igor Yuzefovich (IY)

2. Be sure to prepare all the orchestra excerpts on the same level (or even better!) as the concertos and solo works you are required to play. Unless you are auditioning for a concertmaster position, it's usually not a soloist that the orchestra is looking for - Daniel Raiskin (DR)

3. Think about “why” this particular excerpt was chosen. What is the panel looking for in each particular excerpt? Emphasize those points in your playing - IY

4. Use a metronome, even if you think you don’t need to! When practicing with one, try to use the beat as a syncopation and avoid practicing with only regular beats - IY & DR

5. Play along with a recording to get a better understanding of how your line fits in with the rest of the orchestra. When you play in an audition, you’ll be able to hear the rest of the orchestra in your head - IY

6. While practicing for the audition, regularly record yourself on both audio and video and analyze critically for any shortcomings – be your own harshest critic! - DR

7. If the orchestra didn’t provide bowed parts, make sure to get bowings from either someone in your local symphony or teachers - IY

8. Prepare yourself for eventually being asked to repeat parts of the audition excerpts: the panel might want to hear things being played shorter or longer, louder or softer, slower or faster, with more or less vibrato - DR

8. When you feel well prepared, play the excerpts through in various order. Fast excerpts followed by slow, loud to super soft, etc., you never know what order the panel will ask them in, so be prepared - IY

9. Unless explicitly indicated, count all the rests and take particular care about the quality of your counting (the same goes for muted or unmuted passages) - DR

10. Play for leaders or principals of your local symphony orchestra, when possible. The experience of someone who’s played these pieces many times in a concert setting can be invaluable - IY

11. Your instrument, bow, and gear should be in top-notch condition. Be sure you can tune quickly and thoroughly (fine tuners), that your bow has enough hair, and that your shoulder rest (if you are using one) is not falling off every 5 minutes - DR

12. Do mock auditions. Ask your friends to sit as a mock panel and call out excerpts and write down their comments - IY

13. Be prepared for a potential conversation with the members of the panel or the music director. This should not be a shock and you want to come across as genuine as possible - DR

14. Don’t try to play in a style that you think would match a certain orchestra. Play the way you play - IY

15. Remember that you are first and foremost a musician! The audition panel wants to hear that they are dealing with an aware, sensitive, emotional, and inspiring potential colleague. Shape even all clearly secondary lines with the greatest care - DR

16. Try to take the pressure out: an orchestra you are auditioning for should want you as much as you want to get a job with them! Play to enjoy, don’t play to please - IY & DR

17. Take it easy if you do not succeed in an audition. Keep practicing and working: there is always a job out there that is waiting for you! - DR

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Cellist Alban Gerhardt on Building Your Own Interpretation of a Standard Work

THE VIOLIN CHANNEL — Mon, 24 Aug 2020 17:58:43 +0000

When you're learning a work from the standard repertory, do you pick out the recording by your favorite artist and listen to it? Perhaps, you're someone who prefers to isolate yourself from other recordings and learn it entirely on your own. Different musicians have different approaches.

Cellist Alban Gerhardt shares his advice on the topic.

(Photo credit: Kaupo Kikkas)

Alban Gerhardt shares how he creates his own interpretation of a work

Whenever I have or had to learn a standard work I ignore any recordings or previous performances of it.

This way I can be quite sure that the outcome will be my ''own'' and possibly ''unique'' interpretation, as the intentions of the composer are all more or less obvious in the score, but everybody could or should understand these abstract black dots and dashes on a white piece of paper differently to the next person.

I don’t treat the learning of a completely new piece at all different to standard repertoire.

I pretend to be the first person ever who played it. It does help to know other works of the composers you want to perform.

When learning the Schumann Concerto for the first time I did not know any recordings of that work but had accompanied my mother on the piano with most of his songs as he is my favourite Lied composer, and I had played most of his chamber music and some of his piano music.

But even the not-yet standard repertoire concerto of M. Weinberg which Rostropovich had premiered I learned and memorized without knowing any other performance of it, only to be surprised by how differently Rostropovich’s interpretation was to mine after I had performed it for the first time.

Why don’t I take the version of the world’s greatest cellist who on top of it worked the piece with the composer, more seriously?

Possibly Weinberg told Rostropovich things that weren’t in the score... wouldn’t that be interesting?

Maybe, but maybe the incredibly charismatic Rostropovich was so convincing with his interpretation that Weinberg didn’t push for what he might have felt and wanted differently when he wrote it down – or maybe Weinberg didn’t even remember the exact feeling.

I am far from being a performer like Rostropovich, but when I premiered Brett Dean’s Huntington Eulogy for piano and cello together with Steven Osborne, we tried our best to do justice to the instructions of the composer, only to find out later that the composer who was unable to attend the world premiere, did enjoy the recording of it very much but had something quite different in mind.

Would it make any sense for the next cellist to listen to my version of it?

Absolutely not, because even if Brett Dean would have worked on the piece with me, he most possibly would not have changed the way I felt the piece.

The beauty of music is that there are so many ways to understand and interpret any given phrase or work – why limit oneself to the ''one'' reference recording or performance?

–Alban

Do you have an idea for a blog or news tip? Simply email: hello@theviolinchannel.com

“One of the finest cellists around – expressive, unshowy and infinitely classy“ (The Guardian). Alban Gerhardt has, for twenty-five years, made a unique impact on audiences worldwide with his intense musicality, compelling stage presence and insatiable artistic curiosity. His gift for shedding fresh light on familiar scores, along with his appetite for investigating new repertoire from centuries past and present, truly set him apart from his peers.

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Violinist Svetlin Roussev Provides Tips and Advice for Rock Solid Memorization

THE VIOLIN CHANNEL — Wed, 25 Sep 2019 12:21:44 +0000

Performance anxiety can take over our ability to play our best. After hours upon hours of practicing, the insecurities of having memory slips and making mistakes are so real under pressure. Although performance nerves cannot be removed entirely, as performers, there are ways in which we can have control over how we navigate around these types of situations. The Violin Channel recently caught up with Bulgarian violinist Svetlin Roussev to chat about methods to develop rock-solid memorization.

Violinist Svetlin Roussev Gives Insider Tips on Mastering Memorization

This is a difficult but interesting topic - and needless to say very personal - so I will speak for myself and share my performing and teaching experience.

First of all memory needs to be trained constantly as our neurons do regenerate! There is certainly the process of aging which should only be fought against. We all remember how much easier we absorbed information, music, and poetry when we were younger. For us musicians, it is very easy to lose the habit of performing 'by heart'. Simply because, most of the time, we don’t need to, but…this is another story!

Since we are talking about how to memorize, let me express some different observations. A friend of mine has the great capacity of reading anything four times (including highly complicated articles she doesn’t necessarily understand) and memorize it photographically. An impressive and phenomenal feat, most of the people are envious, even jealous.

My point is, while it’s a truly amazing capacity, it doesn’t serve her because whenever she gets under pressure she’s unable to mentally turn the « photographed » page, consequently her gift becomes useless.

Another shocking example includes the many interesting, promising young players who manage to perform a piece from memory without even knowing what notes they are playing! Thanks to the countless repeated movements, psychomotor reflexes combined with fingerings and bowings, results in a flow of...notes. And on the day of the audition or exam, it doesn’t work well enough, as the brain control is missing.

Consequently, the player endures what’s happening, rather than controlling the action. The result is memory slips. Not great either.

Since we are mentioning tips, in my opinion, it is crucial to put every single chance on our side while memorizing music efficiently.

How? All our knowledge from theoretical subjects should be used. I insist, as we often realize the benefit of our studies much too late.

What is the form of the piece, sonata or rondo? Unaccompanied work or a concerto? In terms of length and quantity of musical content, there might be a comparison between these two. Also, unlike with a solo piece, it appears to me quite impossible to ignore what’s happening around you when performing accompanied music.

Essentially, we need every single part of the background.

It is very helpful to know the score well, as the orchestration of the same repeated phrase could be different each time. Overall analytical structure, such as how many bars are in a phrase, is basic in conducting and should be included in your preparation! Does the musical shape go up or down? Often, the visual movement greatly helps the phrase and consequently our memory.

In my experience, using the harmony to organize the vertical structure of what we play is very underrated. Voicing might be obvious in a fugue by Bach, although the bass line is rarely understood (worse, heard at all!) It’s very rare that we stick to some sort of horizontal melody in our great classical music.

Last but not least, a bit of self confidence and the joy of performing is very useful!

Since time is precious, let’s continue to do our best in order to be as organized as we can.

Good luck!

-Svetlin

Do you have an idea for a blog or news tip? Simply email: hello@theviolinchannel.com

Prize winner at the 1st Sendai International Competition in Japan, Svetlin Roussev has won numerous prizes at the Indianapolis, Long-Thibaud, and Melbourne International Competitions. He was voted Revelation of the year 2000 by the ADAMI at the French industry music festival Midem of Cannes and was selected for sponsorship by the Natexis-Banques Populaires Corporate Foundation. He currently serves as concertmaster of Orchestre de la suisse romande and is professor at Haute école de musique de Genève. Roussev plays the Stradivarius 1710 Camposelice violin kindly loaned by the Nippon Music Foundation.

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Violinist Stefan Milenkovich on Building Your Own Interpretation of a Standard Work

THE VIOLIN CHANNEL — Sat, 27 Jul 2019 00:23:58 +0000

As musicians, we all want to have our own unique voice when interpreting a piece from the standard repertory. It's easier said than done, and some of us can spend countless hours listening to our favorite artists playing the work for inspiration. How then, can we add our own personal touch to these standard masterpieces of the repertoire?

Serbian-born violin virtuoso Stefan Milenkovich shares his expert advice on the topic.

Violinist Stefan Milenkovich on building our own interpretation of a standard work

Starting to work on a new piece is always exciting – and even more so if the piece is one of the popular warhorses of the repertoire!

I personally try to leave no stone unturned when it comes to developing my interpretation, with the ultimate goal being quite simple: freedom. After I look at the historical context – and take as many musical and technical things in consideration – I am ultimately looking to feel completely spontaneous in my interpretation. In other words, it’s all about being true to yourself on stage, where there are no boundaries between my intentions and my interpretation, which ultimately arrives to the audience in the same way I intend it to be felt and understood. Obviously, this is easier said than done… but it is an ideal.

One of the obvious things I do is to get a nice, clean copy of the score (ideally Urtext). Seems like a given, but I see too many students and some of my colleagues (I was one of them more then once!) that have their music all over the place, bad page turns, old copies that are just waiting to be ripped off next time you try to turn that page, or some heavily and arbitrarily edited edition that basically implies a certain interpretation (and often, quite personal interpretation at that).

So, I start with a clean slate, which helps me feel more organized already – although I haven’t played a single note yet! Anyway, after that, I usually start with the hardest part of the piece, whatever part scares me the most. It could be the end of the piece, cadenza, some tricky spot etc. For me, this is psychological as I believe a work should be learned as evenly as possible, which obviously means varied amounts of work for different parts of that piece.

Within this approach, I start memorizing immediately. I know, I know…. This is essentially not REALLY possible! But it is another way to make myself feel good while learning the piece. Even if I memorize three notes at the end of the work, two bars of the second movement, and a passage from the cadenza, it still feels like I am hitting the ground running right off the bat. It’s all about cultivating the feeling of successful preparation, no matter what the piece is or how difficult.

Now I start layering the piece just like you would build a house (I assume that’s how you would build it, as I’ve never actually done it…. But you know what I mean…). Laying down the foundation, keeping the progress even, not neglecting any part of it etc. But since we are talking about a standard work, here is where you already develop your interpretation. So, what to do? The piece has been played countless times, recorded… everyone knows it. Well, what I ask myself is: what is this piece about, and how does it relate to what I am about as an artist on stage? Everyone will look for something different in their performances – just like various audiences do. Whether you try to be incredibly original and different, or you just go for a standard and “safe” interpretation, it’s always going to be YOUR interpretation, because YOU are playing it.

In a sense, learning a standard work is perhaps easier than learning something “off the grid” because, no matter what you do, you’ll find someone that likes how you play it! If you sound “just like Oistrakh’s recording”, then… well, that’s pretty amazing! (laugh). And if you sound like you’re actually not playing the piece that is printed in the program booklet… Well, even then, someone will say: “Such a fresh approach! I am tired of everyone playing this piece in the same way.” In conclusion, how one prepares a standard piece is not as important as actually believing in everything you are doing. But when you do believe in every note you’re playing, this is when you identify with the work, and the audience identifies with you as an artist.

–Stefan

Do you have an idea for a blog or news tip? Simply email: hello@theviolinchannel.com

Serbia’s Artist of the Century, Most Humane Person, and Brand Personality of the Year, violinist Stefan Milenkovich enjoys a prolific career as an internationally sought-after soloist and recitalist. He performed for U.S. President Ronald Reagan at a Christmas concert in Washington, DC, at age 10. The following year, he played for Mikhail Gorbachev in Belgrade, Serbia. At age 14, he played for Pope John Paul II and at age 16, Milenkovich gave his 1000th concert in Monterrey, Mexico. By age 17, he was the winner of The Young Concert Artists International Competition (USA), as well as a prizewinner in the International Violin Competition of Indianapolis (USA), the Queen Elisabeth Competition (Belgium), Hannover Violin Competition (Germany), Tibor Varga Competition (Switzerland), Rodolfo Lipizer Competition (Italy), Paganini Competition (Italy), Ludwig Spohr Competition (Germany), and the Yehudi Menuhin Competition (England).

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Violinist Ann Setzer on The Importance of Understanding Historical Context

THE VIOLIN CHANNEL — Tue, 23 Jul 2019 18:40:36 +0000

As musicians, we are constantly striving to better ourselves in technique, musicality, and interpersonal relationships. In the area of performance, what might be a good way to further elevate our artistic endeavors to the next level? Listening to more golden era recordings? More hours in the practice room? Actually, the answer may be something you might not have thought of. American violin pedagogue Ann Setzer shares her expert advice on the topic.

Violinist Ann Setzer on why it is important to understand the historical context of pieces we're learning

Developing an interpretation in music involves a never-ending search for expression at the most personal level. An effective interpretation is a kind of magic influenced by the knowledge of harmonic analysis, historical context of the composer and, in some cases, performance practice. Knowing the historical context of a composer’s work almost always heightens your sensitivity and empathy for the composer. If you combine this knowledge with a thorough harmonic and structural analysis, you can create an interpretation full of passion and imagination.

We musicians are sensitive creatures. As a teacher, I always encourage young musicians to be affected by phrase endings, phrase direction, structural events, and harmonic and color changes.

While contextual knowledge is no substitute for harmonic analysis, it allows a musician to create a stronger mental image from which to weave a convincing performance. The stronger your connection is to what the music is saying, who created it and the circumstances surrounding its creation, the more intimate your association with the work will be.

There are many works where historical circumstances were a strong influence on the composer. Mozart’s compositions embodied the ideals of the Age of Enlightenment. Shostakovich’s works are often reactions to his complicated relationship with Soviet culture. I encourage my students to read biographies of composers and to research the historical events that occurred during the period a composer was creating the work. I hear a big difference in those students who, in addition to their practice, do their musical homework.

Another thing that matters is the musical context of the composer. What do those dance titles really mean in works from the Baroque, Classical and Romantic eras? Knowing how a French Courante is different than an Italian Corrente can certainly change our interpretation. Articulation, bowing style and even phrase emphasis vary drastically in works from different eras and nationalities. In addition to learning about the historical and personal background of the composer, learning about historical performance practices of performers of the period gives us another layer of knowledge to differentiate and deepen our interpretation.

Here’s an example of what I mean. When I was a student studying Poéme by Ernest Chausson, I learned that Chausson enjoyed reading Ivan Turgenev. Eugéne Ysaye asked Chausson to write a work for violin and orchestra which Chausson originally titled "The Song of Love Triumphant" after a short story of the same name by Turgenev. Even though Chausson didn’t intend a direct association with the story, after reading the rather melodramatic tale, I felt a more intimate connection with the music. I was inspired to explore more color and character in the sound and alter the pacing of phrases. The harmonic language of Poéme is beautifully complex but understanding the literary influence deepened my desire to create a performance that would reflect Chausson’s inspiration.

Studying the score and learning as much as possible about the works you are performing are just as important as the hours you spend practicing. We musicians never really know what bit of information will spark our creativity and lead us to a deeper, more personal interpretation of a work.

–Ann

Do you have an idea for a blog or news tip? Simply email: hello@theviolinchannel.com

Ann Setzer has served as a violin professor for many years at the Mannes College of Music and the Juilliard School Pre-College Division. She also is an Associate Faculty member in Juilliard College and is a violin faculty member at New York University, Steinhardt School of Music and Performing Arts Professions.

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Violinist Danielle Belen on Building Bulletproof Memorization

The Violin Channel — Tue, 23 Jul 2019 00:17:56 +0000

Audiences are used to seeing seasoned professionals perform onstage with no music. However, for many young soloists, memorizing a piece can be a daunting task. VC reader Sarah wanted to know what the best approach is to memorize her music.

How do you memorize a piece? Is there a secret recipe for memorization? Please leave a comment below, we are keen to know your thoughts.

Real Advice from Danielle Belen on memorization

Dear Sarah,

Bulletproof Memory — Do sweat the small stuff.

One of the most frequent post-concert questions I get from audience members is "How on earth do you remember all those notes??" Strangely enough, I know exactly how to answer this, but for many musicians, the answer seems to be "It just sort of happens." Sometimes, musical memory is acquired in a fairly passive way, without even really trying. It's just a matter of time and hours practiced before poof! Almost magically, it is memorized.

But is it bulletproof? Will it stand up under pressure on stage and, even more importantly, is it solid enough that you can let go, trust it and perform "in the moment?"

As a young violinist, I would stay up late at night running through phrases in my head, imagining my fingerings for endless passages, constantly testing myself throughout the day (even while watching a movie on a date!) to see if I could remember what came next. I thought maybe I wasn't really a natural musician, that something was wrong with me if I had to work this hard to do something that should be so easy.

Recently, I realized that I've played the violin for over 75% of my life and practiced something like 30,000 hours. Somewhere along this journey, and after over a decade of teaching professionally, I realized something. Through all the extra effort, mental sweat, struggle and self-doubt about memorizing, I was actually honing skills that, in turn, made me not only a better memorizer, but also a better teacher, a much stronger violinist, and a more confident performer. Once I realized that this "mental sweat" I had forced upon myself was OK, and that it was actually a healthy stress, I began to worry less about memorizing and more about becoming deeply intimate with the music, inside and out.

So how does this all work? Here is a quick rundown of some of the real tools that lead to a confident, bulletproof memory.

Exhaust every passage inside and out by breaking it down to the smallest microscopic parts — don't leave a single measure, or a single note, uncared for.

Play the sequence of notes forwards and backwards, literally. This also solidifies your shifting in difficult passages.

Practice with great core sound and Obsess about your intonation. Yes, I said it. Obsess with a capital O. Pitch and memory are closely related, so spend a great deal of your time on this.

Rehearse with a pianist as often as possible — this is a huge piece of the puzzle that even pros sometimes neglect to follow through with because let's face it, it can be expensive and a pain to coordinate. But it is absolutely worth it.

For solo Bach, or other works notoriously difficult to memorize, write it out by memory on blank manuscript paper.

Make your brain work- make it sweat a little! Spend time practicing without the violin, going through the piece in your head, and listen in a focused way to multiple recordings.

If you feel anxious about your memory, before blaming it on bad genes, first examine if your practicing is really as meticulous and demanding as it could be. There must be a deep bond created between your brain, your heart, and each and every note in the piece you are studying. Just because you have "autopilot" memory in the practice room doesn't mean it is bulletproof in all scenarios. I often make my students start in random spots on the page to strengthen their memory. By trying to throw yourself off as often as possible, you can rest assured that those "freak out," second-guessing-your-memory moments have already happened in the practice room, so there aren't any left by the time you get to the stage! Now you can breathe and enjoy the moment, trust your bulletproof memory, and remember, we are still human and mistakes happen. Put pressure on yourself in the practice room, and keep digging for the most intimate, raw connection to the music, and in return, you'll know it like an old friend.

-Danielle

Do you have a burning question for one of the pros? Simply email: hello@theviolinchannel.com

A graduate of the University of Southern California Thornton School of Music and the Colburn School, Danielle currently serves an Associate Professorship of Violin at the University of Michigan School of Music, in Ann Arbor. Her famed students include VC Young Artists Simone Porter and Kevin Miura. Winner of the 2008 Sphinx Competition, in 2010, Belen founded Center Stage Strings, a performance festival for young musicians.

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Cellist Laurence Lesser Shares His Thoughts on Warming Up Before Playing

The Violin Channel — Mon, 22 Apr 2019 16:26:45 +0000

Whether it is before a practice session, lesson, or even performance, it is easy to skip warming up on your instrument in the interest of saving time. However, like most teachers and professionals will tell you, warming up is a necessary step in preparation. VC reader Samantha was curious to know the best way to do this.

How do you warm up for a lesson or performance? Does it differ from day to day? Please leave a comment below, we are keen to know your thoughts.

(Photo credit:l Andrew Hurlbut)

Cellist Laurence Lesser discusses the different ways to warm up on your instrument

Dear Samantha,

I think warming up before a lesson and before a concert are two quite different things. Let me answer you in that order!

When you come to a lesson, not only should you have practiced what you are bringing, but you should have assessed where you need more input to help you toward your goal. Of course, you want to play in a way that will satisfy your teacher. But often the most interesting product of the encounter will be achieved by coming with questions and frank expression of difficulties. If you play really well and the teacher simply says, “Good job. . . next week bring the second movement,” it really wasn’t a good lesson. That usually doesn’t happen, but don’t worry about that. Teachers are there to be useful; so, showing from your side what you need gets the best out of them. The most satisfying moments of teaching in my experience are the result of a true partnership and the goal of the encounter is to empower you to find more answers on your own.

Warming up before a concert is quite different. If by that point you don’t know what you are playing, practicing the “difficult spots” will usually make you very nervous.

There is nothing wrong with reviewing your intentions, but last minute bowing or fingering changes will often confuse you in the concert.

But there are two things I find helpful – the first is maybe philosophical and psychological: Why have people come to hear you? If you understand that they’re not out to “get you” but rather are there because you have something to give that they want and can’t do themselves, that motivates you to have that wonderful emotion we call generosity! That’s a positive and helps you feel confident about what you are about to do.

The other thing is something as a string player I find quite useful: I play anything other than what I am about to perform, usually a part of a piece that is not too fast, and look for my own “sound.” This gives me a real physical connection to my instrument and starts me listening well to what I am playing. And, of course, if when you play you don’t really listen to yourself, why should anyone want to listen to YOU? The last thing to do is walk on stage with that feeling of generosity. You are in a completely different “space” than in the practice room.

Try this. I hope it will help you!

-Laurence

Do you have a burning question for one of the pros? Simply email: hello@theviolinchannel.com

Professor Laurence Lesser is a former top prize winner at the 1966 Tchaikovsky International Cello Competition and a participant in the historic Heifetz-Piatigorsky concerts and recordings. After studying with Gaspar Cassado and Gregor Piatigorsky, he performed as a soloist with the world's top orchestras. As a teacher, he served as a Professor of Cello at Baltimore's Peabody Institute and in 1974, became head of New England Conservatory's cello department. In 1983, he was named the school’s President, a position from which he retired in 1996 to return to performing and teaching. He has also taught at the summer programs of the Banff Centre, Orford Music, and Verbier.

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Violinist Chloë Hanslip Shares Life Lessons You Can Only Learn on Stage

THE VIOLIN CHANNEL — Thu, 11 Apr 2019 15:40:15 +0000

There's something to be said about the spontaneity and unpredictability of performances. As much as we prepare for our performances, with an adrenaline rush, one cannot prepare for all that's to happen while on stage. Many times, we learn by doing! The Violin Channel recently caught up with British violinist Chloë Hanslip to discuss the topic.

Photo credit: Kaupo Kikkas

Violinist Chloë Hanslip Gives Insight to Life Lessons You Can Only Learn on Stage

When I was asked to write this article on life lessons that can be learnt on stage so many different ideas came to me.

Listening first came to mind – in this increasingly noisy world listening is a skill that I feel we are losing.

Then came responding and interacting – again in a society that relies so much on technology, simple dialogue and communication is being lost.

All of these are essential when performing – music making is, after all, a conversation.

Being prepared for any eventuality (strings breaking, bridges slipping off the violin!) and dealing with it calmly were also considered.

Ultimately though, I landed on looking and acting confident, even when you don’t feel it, and the facets of that that we explore as musicians when we are on stage.

Playing works that have been written by someone else, and performing them for an audience, is a huge responsibility that can make us vulnerable right from the very first note. Am I performing it the way the composer imagined it to be played? Am I taking the audience on a true journey? Both of these things have been known to go through my mind when I am working on pieces at home and sometimes, when I am on stage.

However, no-one should ever know that these thoughts are going through our heads – we need to look just confident enough, relaxed and totally in control, even if we might not feel it!

An extension to those questions above is also whether you are prepared to bare your soul and your feelings whilst performing. What do we want to present as musicians? What is our motivation? We are, essentially, opening up and showing our truest emotions to a group of people we do not know – something which, as human beings, is not necessarily an automatic thing to do.

So, how do we overcome those thoughts and what processes do we use to mitigate them?

Practice and knowing a piece inside out is crucial and, although getting ready on a concert day is a hugely personal thing, for me, that time, be it getting some fresh air, eating some chocolate or jumping up and down to disperse any extra energy, is almost the most important to clear my head so I can go out and truly enjoy a performance.

Making music is a wonderful mixture of joy, sadness, strength, weakness and many other things - no one performance will be the same (nor should it be!) and so it is with life as well, but it should all be cherished.

-Chloë

Do you have an idea for a blog or news tip? Simply email: hello@theviolinchannel.com

Artist in Association with the Northern Chamber Orchestra, violinist Chloë Hanslip made her BBC Proms debut at the age of fourteen and her US concerto debut at the age of fifteen. She was recognized by the Gramophone Magazine "Choice" in its July 2013 issue, "There's a wholly infectious conviction, spontaneity and panache about these superbly accomplished performances that lend them special distinction." A student of Russian pedagogue Zakhar Bron for ten years, she has also worked with Christian Tetzlaff, Robert Masters, Ida Haendel, Salvatore Accardo, and Gerhard Schulz. Hanslip plays a Guarneri del Gesu 1737.

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Attacca Quartet’s Andrew Yee Talks About Rehearsing Different Styles of Music

THE VIOLIN CHANNEL — Sat, 21 Jul 2018 18:27:16 +0000

Musicians must be able to adapt to different styles and genres of music, displaying a variety of sounds and emotions. Many genres of music also come with specific codes and traditions. VC reader Mimi wanted some advice on how to tackle them.

How do you change your approach to playing when practicing and performing different styles of music? Please let us know in the comments below. We’re all keen to learn more from you.

Attacca Quartet: Amy Schroeder and Domenic Salerni, violin, Andrew Yee, cello, Nathan Schram, viola (Photo credit: David Goddard)

ANDREW YEE GIVES INSIGHT INTO ADAPTING YOUR PLAYING TO DIFFERENT STYLES OF MUSIC

I think learning music is one of the most intriguing and mystical things any of us do as musicians. What are we actually doing when we learn music?

You are not “telling” your fingers what to do, it is not like endurance training for a marathon. You are somehow standing on one side of a piece of paper, and you need to at some point in the future to be on the other side.

Musicians go onstage and can be treated either like scholars, athletes or magicians, but either way we are all mediums for a human idea to be translated into an experience.

The thing to remember is that we are all people, and much like how we all have different sized hands (who here thinks nothing of an octave with 1 and 4 in first position, and who here can barely reach it with the thumb?) we all have different ways that we learn, and how we express ourselves.

When I was 10 I was diagnosed with ADHD, which could have been true, or I was just a hyper kid, or there was a time after a concussion that I had lost the ability to read for a short time and was extremely efficient at learning music (true story…ask me about it next time you see me.) Whatever the case, what I am trying to say is that everyone has a different brain. We can argue about practice hours, and about methods and scales and books, but what we are all trying to accomplish is problem solving.

Do not wait for your teacher to tell you something is wrong. You know you don’t sound like Yo-Yo, and it’s not because he farts magic, the guy worked hard.

My best piece of advice is to try and identify problems as they happen, and at that very moment take it apart and fix it. In my everyday life I have a hard time keeping track of what I need to do, so I make lists. Writing this article was on top of my list today, so I am sitting here eating sour cherry cobbler and when I am done I can check it off the list. I treat music the same way. I am learning Don Quixote at the moment, and I have starred and listed all of the moments I am unable to play. When I have put a fingering over every note and can play it several times in a row, I will leave it and move on. I will then go on with my life and forget some of the things I have learned, but will be able to come back to the music fresh and a little more able to play. Maybe I will look at the fingering and see it is clunky or utilitarian, or maybe I came up with the fingering on one of my really, really good cello days, and it will be impossible to find onstage. Either way, I love the "learn and leave” method. Sometimes we become too attached to how it happens in the practice room and when we are on stage our ideas seem alien and cemented.

These are all big ideas and I will leave you with four practice tips I have learned along the way.

1. If you can’t figure out how to play something, sing it. That is the most honest version of how you feel about the music. I don’t know anyone who can phrase more beautifully on their instrument than they sing in the shower.

2. Practice before the first rehearsal, but don’t make up your mind before hearing what everyone else sounds like. There are always ideas that are better than yours, but they only work if you are being open to them.

3. If you don’t love it, neither will we. Find what makes this music special to YOU, and share your point of view. We come to the concert hall to fall in love. If you don’t fall in love with the piece in the practice room, you are counting on a last minute epiphany to hit you on stage, and that is not going to happen most of the time.

4. A piece doesn’t exist until you play it for people. So if you have a big performance coming up, find a place to play your program in front of people. This will show you what you need to work on more than anything.

—Andrew

Do you have a burning question for one of the Pros? Simply email: hello@theviolinchannel.com

A graduate of The Juilliard School, where he studied with Fred Sherry, Darrett Adkins, and Joel Krosnick, Andrew Yee is a founding member of the internationally acclaimed Attacca String Quartet.

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