Congratulations to Sirena Huang who was the First prize winner for this competition!!
http://www.elmaroliveiraivc.org/
Competition rounds videos available at: https://www.youtube.com/channel/UCuYhHhBoADbtY80zdYAQPtQ
I had the pleasure of playing alongside the contestants in the First Elmar Oliveira International Violin Competition held at Lynn University this month. Wonderful talents and great collaborations throughout - simply a joy to be a part of this special event!!
Congratulations to Sirena Huang who was the First prize winner for this competition!! http://www.elmaroliveiraivc.org/ Competition rounds videos available at: https://www.youtube.com/channel/UCuYhHhBoADbtY80zdYAQPtQ
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Below is an article on the topic of practice method by Noa Kageyama. A good read! http://www.bulletproofmusician.com/struggling-to-get-a-tricky-passage-up-to-tempo-try-this-clever-practice-technique/ "These results suggest that in the early stages of learning a skill, emphasizing accuracy can absolutely lead to more accurate results in the short term – but this may come at the expense of long-term development. " "Habits and mechanics that will eventually have to be discarded or unlearned, in favor of more efficient and speed-friendly mechanics which do work at the final tempo." Text taken from the April 22, 2016 NPR article - link here.
"Menuhin was so much more than just a violinist," violinist Daniel Hope insists. "He was a passionate believer in being a better person and making a better world." And the way to do that, Menuhin said, was to reach out to people. "One has to have the hunger for communication, for giving," Menuhin said. "One has to have a sense of compassion."
Another interesting share from SI about working with the harpsichord and playing in the "authentic" way. "So why the harpsichord on this recording? Well, what really attracts me is the clarity, the lucidity of the harpsichord, the fact that one can somehow hear THROUGH the sound. The piano is certainly a more sensual instrument; but the simplicity of the harpsichord is something else. Of course, one needs a player who can make the harpsichord sing, and overcome the instrument’s limitations. I remember that at one of my first-ever rehearsals with Richard, some years ago, I suggested doing a crescendo at one point; but then added: “Oh no - you can’t do that on the harpsichord, can you?’ He gave me a less-than-loving look, used language that would bring a blush to the cheeks of my innocent Facebook readers - and then produced (I still don’t know how) an entirely convincing crescendo from his instrument. I reminded him of that at the recording sessions. ‘You have to imagine the sound you want, and it’ll come,’ was his reply. Another advantage of playing these sonatas with harpsichord lies in the issue of balance. With a modern piano, the cellist sometimes has to play louder than I feel the music demands; with a harpsichord, the danger is the other way around (and I must admit that I do feel that the cello is perhaps a little too present at times on our recording). But having to play softly is a luxury for a cellist; and it makes it easier for the bow to dance uninhibitedly, as this music requires. Notwithstanding Richard’s magic tricks, there IS less dynamic range in a harpsichord than in later instruments; so a lot of the structure is expressed through subtle rhythmic changes, which should (I think) be unnoticeable to the listener. I once heard Rostropovich put that idea in a lovely way: he advised someone not to change the tempo, but to move it on ‘like the nose of the dog pointing forward’. So one plays in a somewhat different way when playing with harpsichord than with piano – but the essence of the music remains the same. What amazing works they are – deeply moving, unbelievably imaginative, wonderfully vivid; the better one knows them, the more miraculous they seem. And ultimately, one has to play them with conviction, hoping to convey their magic, without fussing too much about theories of authenticity. I’ll leave the last word to the colourfully-spoken Mr Egarr. At one point in the recording, I stopped and asked him: ‘What will I tell people who say that I should have started that trill on the upper note?’ “Tell them to f--- off”, Richard replied brightly. Ahem – but he has got a point… " I went to see the newest installment of Tom Cruise's Mission Impossible movie two weeks ago. I really liked it and thoroughly enjoyed the (several) twists and action scenes. I would like to share with you an article by New Yorker write, Alex Ross (@alexrossmusic) about his thoughts with this particular combination.
http://goo.gl/pdQKdW Conclusion: Turandot in Mission Impossible - simply tasteful & well done! Lynn on Air - WQXR Featured Tashkent Piano Trio: Lyric Chamber Music Competition Winner Ensemble4/29/2015
Host Aaron Dalton introduced the Lynn Conservatory and its wonderful student ensemble, Tashkent Piano Trio, in a featured performance of Suleiman Yudakov Fantasy and Shostakovich Piano Trio.
http://www.wqxr.org/#!/story/back-boca-and-lynn-conservatory/ Amazing concept and mixing effects!! I believe more tracks could be added to this collaborative project - get to work, everyone!! Merry Christmas & happy holidays to you all~ May the next year welcome us with lots of peace, compassion, love, and support! Please enjoy "Sleigh Ride" by the wonderful Anderson & Roe Duo. A video of musicians praising the power of music, courtesy of BBC Music! |
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