Several weeks ago we created a Brain of a Violinist chart, in response to Classic FM's cute series of pie charts which, nonetheless, seemed a little off with the violinist pie chart. Looking at their chart for violists, I thought we could do better here, as well. Do violists really spend most of their brain power on resenting violinists and fending off viola jokes? I knew we had to dig deeper, so I picked the brains of several violists and came up with this chart. Keep reading...
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Glissandos -- those tender-sounding finger slides into certain special notes -- may disappoint you the first time you try them, but keep trying. Chances are, the bow lost a little of its sound, the rhythm got a little rickety, and the pitch got lost in the shuffle. When you try it again, make one of those things a little better, while keeping a sense of wholeness; one unifying thought will keep us on track, look at the big picture, and focus on the music. When you think musically and naturally, it’s also a good time to take in each detail and deviation, and get rid of them one at a time.
The two major types of glissandos -- otherwise known as slides, portamentos, and "schmaltz" (Yiddish word for chicken fat) -- are known commonly as "Heifetz" and "Kreisler" slides, named after the artists who used them so well -- Jascha Heifetz and Fritz Kreisler. (BTW Does anyone know the derivation of "schmaltz" as a word for glissando? I don’t think it was Sarasate, and would be surprised if it were Joachim. Ivry Gitlis?) Keep reading...
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In an effort to promote the coverage of live violin performance, Violinist.com each week presents links to reviews of notable concerts and recitals around the world.
Leila Josefowicz performed Adams' "Scheherazade. 2" with the Seattle Symphony.
Joshua Bell performed the Tchaikovsky and the Mozart with the Academy of St Martin in the Fields.
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