Dear Maestro, Thank you so much for having the courage to take advantage of this advantageous new technology for the sake of connecting with the next generation of young violinist. Your thoughtful answers to their questions are such a wonderful demonstration of the inner processing of a successful musician. This kind of dialogue is a reminder to our students that great musicianship is one of constant life long inquiry & exploration. Thank you for making teaching in our studios a little easier.
dear Mr.Perlman... since the first time i heard You performing Sibelius concerto with Boston philly, and Carmen , i knew i have experienced something that would stay with my soul for years . i was a young violinist back then , i wasn't sure if what i was doing with my violin would get me anywhere , but it did. and still , remembering Your recordings of those two pieces gives me shivers, and i just would like to thank You for inspiring me with Your soulful , so humane , so touching performances.
I was seriously hoping you were going to go into Kreisler's unique style of playing - his elegant use of guide notes in the shift which so many players overdid until, I was told, Oistrakh came along and 'blew the excess out of the window'! Meanwhile,, on reading Curt Sachs' on folk dances I learned that there was a folk dance in Austria which had a rhythm of 3 against 4. This would give you the Viennese waltz rhythm!
When we listen to Kreisler recordings, we should remember that much of the beauty of his performance and sound is lost in a digitized version of his recitals; it's not like listening to him live. Oistrakh did and he was addicted to Kreisler. The latter was a very creative personality and a true Viennese aristocrat; he is an aristocrat of the sound and of the phrasing; his phrasing is inimitable. Itzhak has a great mellow tember and Heifetz had perfect technique, but Kreisler is still unmatched with his impeccable saloon style in the best sense; he played in a posh, refined style, with exquisite phrasing.
Dear Sir, as an amateur listener to classical music, yet a bit more knowledgeable in Gregorian and psaltic chant, I always pay particular attention to intervals and durations. At some point, you discuss an ASYMMETRICAL division of a ternary rhythm. Instead of a whole number 2:1 ratio, one can either SHORTEN or LEGTHEN the first part, creating asymmetry that is much more perceptible. When shortened, one obtains rhythms such as, for instance, that of the golden section (.62 to .38 vs. .66 to .33). Such rhytms seem to describe some "limping" motion, known as "hyposkazon" in Antiquity. One actually LEARNS such rhythms by "limping" while singing! Furthermore, one uses this "elongation" principle in BINARY rhythms, thus creating rubato by ALTERNATING from one type duration ratio (whole-number, binary 1:1) to other NON-symmetrical ones. Are there any such "techniques" used in teaching in the music you perform? Respectfully, G.
Can you do a post about the Brahms violin concerto? I have been playing for 30 years and finally got the opportunity to play this piece. I want to add some Perlman flair.
Dear mr. perlmand i'm writing to you to ask for some tips on how to play the piece "Humoresque" by Dvorak, I keep on confusing the rythms of the bemol and sostenido part (sorry for these don't know how to say them in english) and besides I love that glisade you make on the F notes, thank you.
Dear Sir....I dont really think that you might read this but if yes..would you please answer me that what do you think about Hungarian gypsies (as musicians of cource) and if you ever have experienced how Hungarian Gypsy music sounds (maybe in live)?....thak you sir...Hungarian Gypsy who palys classical and gypsy music also.....
if you played a kreisler piece a way all your life and then one day hear a recording by kreisler. would you try to tweak your playing to sound as much as he intended it to.
Sir,I have a question I started violin 2 months ago and I think I am learning it fast.Can you suggest me some technique books and Music School so I can go i
