Your performance was beautiful, awesome for your young age, and considering the health issues you mentioned in your post. Why did you stop performing? Because of this performance, that you, as an demanding, not self-indulging musician, did not find to be at your level ? Even the greatest soloist did sometime play out of tone when on stage. But it is also known that the great Galamian did have the ambition but not the nerves for performing. Could it be your case? Don't give up, even if you're teaching as well!
It's nice over all. She is moving to much to make her performance look better, but it's actually made play out of tune. Also she wasn't able to keep her tempo and lost the orchestra at some points. It almost seemed like to play at better level than she could...
Noting wrong with her intonation. The orchestra always spoils this piece and, in this case, it is overpowering her as she doe not have a very strong tone. Well done - on the whole.
It is a piece which is extremely difficult play in perfection technically and still more in the interpretation. She gave a good performance but one is spoilt by the marvelous interpretation of David Oistrach. Well, she is so young and will improve and play it also on the level of a master.
I'm sorry Mr. Lee. I have to confess to an error on my part. It was not Erica Morini,, but Gioconda De Vito who recorded the 78 album on the HMV label. I last heard it many moons ago and at my age, (92,) time sometimes plays tricks on me. Please forgive me.
Mr. Lee. How you can hear bad intonation while being distracted is beyond me. Her "Movements", simply showed her emotions and intensity, while her overall playing is magnificent, with a fine orchestra behind her...And let's not forget Vitali. Haunting music, interpreted with love for the music. I have an old 78 album by Erica Morini, also with organ accompaniment of this wondrous opus. If you ever saw Heifetz play, you would swear off violin music. He was very cold and dry, with really no feeling for the music he played, even if he may have been one of the greats..
A lot of people say Heifetz was cold and dry. If you only watch, that's true. he moved only what was necessary. If you closed your eyes and listened, that's where the true emotion was in his music.
This is a very new concept... That you need to shake around and move your body with your playing to convince the audience that you're "feeling" the music. Look at all the old masters like Heifetz, Oistrakh, Menuhin, Elman, etc., who played with so much emotion (In my opinion, more so than the modern violinist) and stood practically still and moved only what was necessary. It's just become a social norm now that if you're to play emotional music, you must dance. I'm not saying this dancing is necessary bad (there may be a point where it's too much), I mean some of the old greats moved around on certain passages. What I'm trying to say here is that minimal movement doesn't mean minimal emotion.
Had a couple mistakes in a few places and could've shown some improvement in intonation. However, sounded pretty good. Also, try not to move around as much as it is distracting
• I enjoyed the movement in her body. She was like a flickering flame on a candle, kinda like the love portrayed in this love song, struggling to stay lit.
WHO ARE YOU? I don't know where you're getting your information from. You must be that occasional guy who thinks he knows about music. Look, just because it sounds like a "love song", which you clearly don't know the criteria for, necessarily means it was a love song. I find your comment very idealized and bizarre. Name me one love song in classical music without looking it up (which you most likely will)
Hey I'm just tryna say to understand this piece correctly and prevent further misconceptions. If there's one thing I don't want, it's misconceiving this masterpiece as a love song. Also, I never mentioned me being smarter than you at any point. I will indeed have a nice life, thank you very much.
+Won-Ho Lee • You'd have to know what love is first, in order to comprehend the wholeness of a song or anything. Music is a reflection of the condition of ones heart. This song in particular has an extreme feeling of heart ache and pain.
This schmalzy modern orchestration of Tomaso Vitali's chaconne for violin and continuo is barely recognizable as a work of the late baroque. You people who are drooling over this performance probably don't have a clue that it was composed for solo violin and continuo. Many of you are probably so clueless that you don't even know what "continuo" is.