Rehearsals, Routines, and Traveling with a Stradivarius
08/08/11 22:07 Filed in: Performance Tips | Performing with an Orchestra
1. What does your routine on a performance day look like?
"Well, it usually involves a dress rehearsal in the morning, a huge lunch of some yummy pasta, a work-out, a teeny nap and a shower to get ready! If there is no dress rehearsal, I try and sleep in or walk around town and see what's going on."
2. In rehearsals, particularly with a new orchestra or conductor, do you "give it your all" or hold back to save energy for the actual concert? What suggestions in this regard would you have for a young violinist who is making his/her first solo concert appearances with an orchestra?
"Rehearsals are just that - a place to experiment and try different things. I work in reverse a bit by working together with the orchestra/conductor in rehearsal and really going for it in concert. If I were making my first appearance with orchestra, I wouldn't worry about having enough energy for both situations.
3. When traveling, particularly overseas, what do you do when your Stradivarius or bow needs to be serviced (open seams, rehair, etc.)?
"I have many friends who are luthiers all over the world. If the Stradivari are really in need of help, I usually go to them for advice. I have gotten bow rehairs in different places as well, but am happiest with rehairs in New York City." (Note: Ms. Meyers plays the 1697 'Ex-Napoleon/Molitor' Stradivarius. She also owns the 1730 'Royal Spanish' Stradivarius.)
For more information on Ms. Meyers, her concert schedule, and the various causes she supports, or to hear samples from her numerous recordings or follow her blog, visit her website: http://anneakikomeyers.com.
Ms. Meyers will be performing at Ravinia's Gordon Bennet Hall on August 20 at 6pm. Tickets: $10. http://www.ravinia.org/ViewDate.aspx?show=315
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Recital Repertoire - What Should I Play?
QUESTION: If a violinist is preparing for their first full-length recital or their first recording, what suggestions do you have for selecting repertoire? Are there pieces you feel that are neglected by modern soloists?
We recently posed this question to internationally acclaimed violinist and recording artist Vincent P. Skowronski.
ANSWER: "The Money Player" by Vincent P. Skowronski
For openers, I would immediately eschew the J.S. Bach solo material for this particular 'debut' concert as even a profound reading of any of the Sonatas/Partitas would most likely bore dear Grandma to tears and almost certainly contribute to the general discomfort of others in attendance. Rather, let's consider doing a ROMANTIC violin thing.
A good warm up piece to begin the program: the tantalizing and down-home ROMANTIC PIECES of Antonin Dvorak.
Next, a rendition of the SONATENSATZ (Johannes Brahms' SCHERZO from the F.A.E. Sonata) which would then be followed immediately by Sergei Prokofiev's MARCH from his opera Love of Three Oranges, giving a nice WOW sizzle to the proceedings.
To reduce the excitement: a chill-down reading of Maurice Ravel's PAVANE FOR A DECEASED PRINCESS is in order, ushering in a major work for the day, perhaps, a favorite such as Cesar Franck's SONATA in A MAJOR (a work that is virtually indestructible, even by some of the world's worst and best violinists). [Editor's note: Read more about interpreting the Franck Sonata: http://www.skowronskiplays.com/ps_Strings_Mag_Franck_1.html] Another palpable icon is Johannes Brahms' SONATA NO. 3 in D MINOR as well as the rousing and quite challenging D MINOR SONATA of Camille Saint-Saens.
For prospects as to "forgotten major repertoire," investigate the wonderfully florid THREE CHARACTER PIECES of American composer Arthur Foote, the palpitating SONATA in A MINOR by Jan Ignatz Paderewski and Erik Korngold's MUCH ADO ABOUT NOTHING (which provides some swashbuckling fare to end the program).
A successful rendering of any mixture or choice made available to you herein should make for a delightfully eclectic experience,.......and keep Grandma clamoring for more. ENCORE!"
For further information regarding Mr. Skowronski:
Vincent P. Skowronski website: www.skowronskiplays.com
Youtube: Search for "Skowronski Plays!"
Can Your Bow Handle the Humidity?
19/07/11 15:54 Filed in: Performance Problems
"I have experienced problems a few times with the bow when I was performing in an extremely humid climate - the hair was stretched so much that it was impossible to tighten the bow at all. Now, when I give my bows to be rehaired, I always check the humidity and temperature of the places I am going to be performing in the future and ask that the hair be adjusted accordingly. If it is going to be very humid - shorter hair. If it will be a dry climate - the opposite."
Click here for Mr. Gluzman's advice on dealing with a broken string during a performance.
Read more about Mr. Gluzman or look for his upcoming performances at his website: http://www.vadimgluzman.com/
Ten Practice Rules from Maud Powell
14/05/11 14:21 Filed in: Practice Rules
Over a century ago (1909), Maud Powell, the internationally acclaimed female violinist, published an article entitled "The American Girl and Her Violin" in The Etude: Department for Violinists. Her advice is not unique or profound. But occasionally it's good for us to be reminded of the basics:
TEN PRACTICE RULES
1. Concentrate. Concentrate your thoughts on your work, completely and absolutely. One hour of absorbed practice is worth forty of the casual sort.
2. Play in tune. The worst of all violinistic crimes is to be untrue to pitch.
3. Practice scales religiously. Play them slowly and with perfect evenness, both as to fingering and bowing.
4. Practice slowly all difficult or intricate passages; also, jumps, trills, spiccato, staccato, arpeggios, etc.
5. Practice long bows slowly, slowly, slowly. Draw out the tone. Pull it out, spin it, weave it, but never press it out or squeeze the string. By pressing the string with the bow you can check the natural vibration, and without changing the position of the left hand the smallest fraction, you can actually lower the pitch of the note you are producing.
6. Memorize everything, including scales, etudes, pieces and difficult passages in chamber music.
7. Keep in mind the structure of the composition while practicing separate phrases, difficult passages, etc. Do not let your playing or your memory become "patchy" - keep each measure mentally in its place; that is, in its correct relation, structurally, to the whole.
8. "Vorspielen." This German word means "to play before." Play your studies or pieces over in their entirety before any long-suffering friend who will listen. You will be amazed at the sore spots that will reveal themselves, and will make it your business to heal them as quickly as possible.
9. Hear other violinists. You will listen in spite of yourself. Then apply that kind of listening to your own work. There will be more surprises in store for you.
10. Love your instrument as yourself. But love your art more than either. Keep the firesof enthusiasm burning. Nothing was ever accomplished without faith and enthusiasm.
(Excerpt from the following article: "The American Girl & Violin." Web. 14 May 2011.
How Can I Avoid Violin-related Injuries?
30/03/11 06:41 Filed in: Violin injury prevention
Physical therapist and Feldenkrais teacher, Deborah Darr*, offers 6 suggestions for violinists who are serious about avoiding performance-related injuries.
1. Adjust your position - Violinist are prone to particular injuries due to repetitive movements and the physical position they must sustain for great lengths of time. There are 7 tiny bones in the neck called the cervical vertebrae. These 7 bones support the entire weight of your head (about 15 lbs.). The nerves that come out of the cervical spine control your arm and hand. Because they cannot be in a neutral position when you play, it is critical to adjust the positioning of the arm and head whenever you feel tension or pain.
2. Pace yourself - Your body requires periodic rest. Practicing for 2-3 (or more) hours straight - without a break - is asking for trouble. Most teachers suggest a 10-minute break after 50 minutes of practice. You may feel that you need to practice 6-8 a day. If so, regular breaks are crucial. Set a timer, if you need a reminder. NOTE: Resting does not mean you are doing nothing. It means you are giving your body a chance to heal and restore itself.
3. Breathe - A normal breathing rate is between 12-20 breaths per minute. However, some violinists actually forget to breathe when they play. This may be due to extreme focus on the music, but the result is increased tension and pain.
4. Exercise - Keep aerobically fit. Regular aerobic exercise improves circulation and increases endurance. Swimming is an excellent aerobic workout for violinists.
5. Stretch - Just as an athlete stretches before and after a game or event, violinists need to prepare their muscles for physical activity by warming up before practicing and to release the tension from their muscles by stretching after practicing (or during periodic breaks).
6. Contrast bathing - There are different philosophies about what to do when you experience soreness while practicing. In general, when soreness first appears, apply ice/cold (ice wrapped in a towel or a cold towel that’s been in the freezer) for 5 minutes. Repeat several times in intervals of 5 minutes on and 10 minutes off. After a day, alternate with heat. (The alternating between cold and heat is "contrast bathing.") Typically ice is used for a specific incident; heat is used for more chronic pain. Ice takes down the swelling. Heat relaxes the area.
NOTE: If you experience any sharp, unusual, or prolonged pain, see a doctor immediately. Violinists can suffer a broken bone or torn tendons from extreme overuse. Don’t try to diagnose and treat yourself, unless you’re a medical specialist.
*Deborah Darr - Ms. Darr is a certified Feldenkrais practitioner and a licensed physical therapist. She specializes in chronic pain problems utilizing movement therapies including the Feldenkrais Method, NIA, ZB, traditional physical therapy, and a variety other methods. She teaches classes for the Chronic Pain Program at the Rehabilitation Institute of Chicago and sees patients in her private studio in downtown Chicago. Ms. Darr was formerly a singer with the New York City Opera, and she interned with the Performing Arts Physical Therapy Center in New York. Ms. Darr also lectures and gives seminars at colleges and conservatories across the United States on the topic of injury prevention. For further information contact Ms. Darr via email at: debdarr@me.com