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trained-pianist
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« Reply #150 on: 17:19:43, 08-10-2007 » |
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Thank you everyone for your reply.
I think there is such thing as fashion. It is great that I can say openly and understand. One has to accept things in life without resentment.
I am greatful to this board for possibility to heal and understand.
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A
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« Reply #151 on: 22:26:23, 08-10-2007 » |
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Tommo, Just returned from orchestra rehearsal. I have had a blinding headache for two solid days but after murdering Elgar 2 I feel much better !!! A  |
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thompson1780
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« Reply #152 on: 22:51:17, 08-10-2007 » |
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Yeah A, isn't that weird? As soon as I pick up the violin to play, all sorts of ailments go. Headaches are the easiest - maybe it's something to do with concentration?
Hope the headache hasn't come back after finishing the rehearsal.
And Elgar 2 - boy, what a piece!
Tommo
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strinasacchi
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« Reply #153 on: 02:00:32, 09-10-2007 » |
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Oh I'm so confused. Do we continue this discussion here, despite the weird feeling of trepidation that seems to pervade things? Or do we try to recreate it on the new board, which looks so promising but might mean starting from scratch? If we bring the discussion over there, do we start where we left off or do we copy and paste the story so far?  I suppose it doesn't help that it's 2am. Maybe I'll take my own advice and try to sleep on it. (It also doesn't help that I've had yet another day of being unable to bear opening my violin case to practise. I hate that. I know perfectly well that playing will only make me feel better. Yet the inertia and dread seem impossible to overcome. It's helpful to read what others say about ailments disappearing on playing. Maybe tomorrow I'll find the strength.) |
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trained-pianist
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« Reply #154 on: 08:26:26, 09-10-2007 » |
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I have periods when I don't want to practice or feel that I don't have energy.
May be some times we are tired. May be sometimes we overpractice. It is guilt inside that tells us we should feel bad when not practicing.
While children should practice every day X number of hours (I was told my practice should be minimum 3 hours).
I played better as a child because often I did not practice. The most important thing is to feel connected to the world and content. May be one should be kinder to him/herself.
It is possible to practice in one head, go into the woods or practice while walking. I know that even great violinists did not practice all day (Paganini, Krysler come to mind).
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« Last Edit: 13:37:08, 09-10-2007 by trained-pianist »
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strinasacchi
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« Reply #155 on: 11:25:11, 09-10-2007 » |
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Thank you for you wise words, t-p! I don't think I've ever been in danger of overpractising, or at least not as an adult. By the time I was 11, I was told to practise 3-5 hours a day (I rarely made it to 5). If I hadn't had parents or (when away on summer music courses) monitors to make me get started, I probably wouldn't have done nearly as much, and might not have reached a level where I could contemplate becoming a professional violinist. On the other hand, it has meant that practising (or not practising!) has become bound up with guilt, as you say. Where does this guilt come from? Towards whom do we feel guilty? Towards ourselves? Towards "Music" as an abstract taskmaster and unattainable goal? Towards all our former teachers who always expected so much? The thing is, all this weighs on me before I pick up the violin. Once I've started playing for about 45 seconds, it melts away. Whether I've decided to read through sonatas I don't know for fun, or be extremely hard on myself and play nothing but double-stop scales and other exercises, I start enjoying it and those feelings of guilt and dread (and even tiredness) fade away. And on that note ...  |
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A
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« Reply #156 on: 15:08:02, 09-10-2007 » |
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I have said all the wrong things on the other board on 'this ' thread. I see that this is not about violin technique anymore either, so I shall scoot off again. It was nice talking to you strina and tommo about technique, but... nice while it lasted !
A
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strinasacchi
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« Reply #157 on: 15:38:32, 09-10-2007 » |
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A - I'd be very sorry to see our discussion stop. I've just posted some further explanation "over there" why most violinists aren't thrilled with some of the techniques they're talking about. We'll see how that develops. Meanwhile, I'm perfectly happy to continue our discussion over here! I hope you will be too. And as I said over there, it's maybe only natural that it seems the composers have "taken over" at the moment, as they were primarily the ones who felt pushed out of here. The balance may even out over time. (I really do need to get back to practising now - I'll be back later with some thoughts on shifting. Have been reading Szigeti on that very point - interesting stuff) |
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thompson1780
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« Reply #158 on: 22:57:03, 09-10-2007 » |
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A,
I'll keep popping back here, but I don't really think that the odd squeekygate composer will destroy any string discussion over there. I think you, me, strina (and Owain?) have enough of a conversationgoing to keep interest in the technique things. As it happens, I also find it interesting that modern techniques are also ancient techniques. The thread over there, now it has expanded scope, is even tempting me to make a "kit fiddle".....
So please join us occasionally over there,
Tommo
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autoharp
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« Reply #159 on: 11:51:01, 10-10-2007 » |
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Last summer violinst that I am playing with now wanted to learn Sinding violin sonata. For some reason he liked it. It is very Romantic sonata and may be it agreed with him (he is very young). I tried to tell him that it is better not to play it since Sinding is not accepted as major composer now days. Yet the youth did not listen to me and we proceeded to learn it.
Now he saw his venerable teacher, who did not approve of the piece.
I am dissapointed because I spend a lot of time on the piece. It is not a bad piece at all. However, it is not important.
I just want to know what do people think? There seems to be only few composers that people are allowed to play. The standards are very high I have to agree.
If it's a good piece, it's probably worth playing. If it's by a composer who is unknown or out of fashion, that may well be an extra reason for playing it. From the point of view of listeners/examiners etc, it makes a pleasant change from the inevitable Brahms sonata. |
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trained-pianist
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« Reply #160 on: 18:33:23, 10-10-2007 » |
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Sinding sonata is a very good piece, very uplifting. I enjoyed playing it very much. We are going to play it anyway in a concert.
I resented pressure from the teacher to play only specific composers. May be it is just individual teacher and preference.
Or may be one's teacher has to protect the student who could be volnarable to criticism by playing an unknown piece.
I was just sad because it seemed to me that if one wants to be successful one is limited to certain pieces.
Who is there to say what one should play. If some critics don't like some pieces does it mean they should not be played? People have different tastes and why can not they follow their own likes and dislikes?
At this point of my life I like to listen to Baroque music, but why make all people listen to it. If young people want to play Romantic music I don't see any reason why they should not do it.
Now we are learning Schumann Sonata number 1. It is not a bad piece, but I would rather play for his exam Sinding.
Schumann is very broody and melancholic piece and I don't particularly want to play this kind of music. We both are tryining to see positive about playing Schumann and there is no choice because one has to do what one is told, but the whole thing puts me off music.
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thompson1780
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« Reply #161 on: 10:33:57, 11-10-2007 » |
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Now we are learning Schumann Sonata number 1....
Schumann is very broody and melancholic piece and I don't particularly want to play this kind of music. We both are tryining to see positive about playing Schumann and there is no choice because one has to do what one is told, but the whole thing puts me off music.
Well, Schumann's Violin Concerto is basically "Mad". Although the sonata is an earlier work by about 2 years, you could see if making it sound 'mad' would add another dimension to your discovery of the work..... And hopefully it would restore your love of music. Remember, the c**p that people make around music isn't the music itself..... Tommo |
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thompson1780
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« Reply #162 on: 12:55:08, 11-10-2007 » |
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Forgot to say - had a piano trio rehearsal last night and ended with Haydn. Isn't it just brilliant playing Haydn? He's so fun, and actually lays in the hand nicely.
Is that because he wrote well for the violin, or is it because violin technique has been developed and taught with Haydn in mind?
Tommo
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increpatio
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« Reply #163 on: 13:08:20, 11-10-2007 » |
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Forgot to say - had a piano trio rehearsal last night and ended with Haydn. Isn't it just brilliant playing Haydn? He's so fun, and actually lays in the hand nicely.
When you said that, I instantly thought of vivaldi's piano/violin sonatas for a similar reason. Is that because he wrote well for the violin, or is it because violin technique has been developed and taught with Haydn in mind?
Tommo
Do people really pay that much attention to Haydn? |
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thompson1780
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« Reply #164 on: 13:45:14, 11-10-2007 » |
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Is that because he wrote well for the violin, or is it because violin technique has been developed and taught with Haydn in mind?
Tommo
Do people really pay that much attention to Haydn? Erm, well maybe I didn't mean only Haydn. I guess what I mean is "....is it because violin technique has been developed and taught with the purpose of enabling violinists to play the more popular repertoire from the composers of the classical and romantic eras (including Haydn ) in mind There - that wasn't so far away was it  Tommo €150 in the post |
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