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I know this is random, but speaking as a luthier - that is a very strange artificial antiquing choice on the upper treble side of the violin (viewable best at 8:14). In regards to the playing up until 8:17 -ish, not too bad. The interpretation was nice but the intonation was *the* thing that needed to be most improved in my opinion. If the intonation was basically perfect, then I'd actually pay for her rendition of this piece and or an album!
My goodness... I love how Mr. Vieaux zeroed in on student's musicality... bringing out the lovely contrapuntal lines which make the piece the great artistic work it is. I agree with other comments... this was a great lesson, in that I actually sense the student is now focusing on the lines of music and less on technique. Don't get me wrong... when student returns to the practice room, technique should be of utmost importance... slow practice with a metronome is of utmost importance. But he should not stop there... after all the notes are under his fingers, the REAL work begins... each phrase should shine like a gem... this is what making art is all about.
He’s playing the subject as if it starts on the one, but the subject starts on the second beat so he should be counting the first beat quietly to himself and feel the character of the peace. Also the D to the C sharp and then back up to the D launches the beginning of the subject to the E and then down to a, B, C sharp, and then D. They is where the subject starts in the dominant, and it starts on the second beat. The rhythmic structure of music by composer, like Bach is crucial to the phrasing. The most important thing of musician can do is listen carefully, and if 1 does not like the sound, they are making make gentle corrections to the fingers
I took a BMus degree on the clarinet without the university ever having supplied a clarinet teacher. And I was forced by the head of the music department to battle my way through Brahms two clarinet sonatas which I hate to this very day. I destroyed the music of these sonatas the day I graduated. What a waste of golden time.
Nearly every masterclass I've seen of his, he spends a lot of attention and intention working to try to get students to consider ditching the shoulder rest. My serious studies began when I was older than these kids, and my teacher got me to try and get rid of the shoulder rest early on...which I did (with trepidation at first!). I was worried about shifts and everything. She said, "...you're not going to drop it!...". And she was right. It didn't take long. I learned - my own ways - how to hold and shift and get around. I have wondered through the years, and have tried shoulder rests along the way, but my experience is that they haven't added anything material. I've played Bartok, Walton, et al on viola without the shoulder rest. On violin, some of the big works, as well. It's just a matter of adjustment and then familiarity. (disclaimer: yes, most of the BIG string stars use them. I am cool with whatever people choose!)
I love Noam. I want to consume and be consumed by his voice, let alone the banjo... magic; it's magic. But why is he wearing his uncle's suit? Hadn't he won the Steve Martin award by then?
Hi, Good playing of yours.... If the best of contemporary music does interest you, have a look and an ear to Pierre Meroeur pieces for guitar at the following address : ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-9_k0hTKf2p8.html
A powerful lesson. Art music is not about knuckle busting or vanity, it's about controlling beautiful counterpoint, melody, and harmony. I had a class with Jason and it was a game changer and stays with me to this day.
Nice to hear the recommendation to concentrate on the works of Sor, Carcassi, and Giuliani. I wish more concert players would include these pieces in their repertoire. I keep going back to them for inspiration and practice of solid technique.
Thank you so much for sharing your conversation which was enriching on so many levels. The Chaconne has remained for me the most probing "getting to the bottom of it" piece of music of all time. First introduced to the sonatas and partitas in the 70's through Henryk Szering's recording, I have just now ordered Szigeti's. A brief preview on youtube has already made a distinct impression. Always great to keep learning new things.
Wow! I’m a pro violinist in an orchestra and have heard plenty of pag 24 recordings. This is my favorite interpretation, and from a student no less! Really fantastic.
@@linglingblessyou good for him to find out as soon as possible that he is playing out of tune. People like you think: oh, I wont tell him, that would be so rude! You would be a lousy teacher.
@@leonardoiglesias2394 How did this conversation escalated to i will be a lousy teacher? First of all if my student is out of tune i will tell him/her, but he's NOT my student. Look if its out of tune he will know and majority of the notes are in tune. He's literally playing the whole 6 sonatas and partitas, you can't expect him to play every single note in tune. Plus music is not about intonation anyways.
@@linglingblessyou 6 сонат и партит - далеко не тот уровень сложности что, допустим, в двух полновесных концертах с симфоническим оркестром, да ещё и в рамках такого серьёзного конкурса, как Конкурс имени Чайковского в Москве. И молодым (17-34) конкурсантам, финалистам, это с блеском удаётся! Попробуйте сыграть подряд Концерты Чайковского и Шостаковича. Или Бартока. Или Прокофьева. Или Берга. Тысячу раз предпочту сыграть всего Баха и безупречно, чем современные концерты с их каденциями и оркестром за спиной😂
