Thursday, April 8, 2010

lesson 42

My programme regarding violin..
is one where Maestro is trying to expose me to as much as possible within the whole picture of what it is to play the violin.
Then we will come back and tune, tune, tune and fine tune.

I remember asking him from the very beginning to adopt this ‘fast track’ approach with me and he feels that now he has come to know me, this is the best way, as i already come to violin with some very basic musical knowledge.. and i stress BASIC particularly with reading music.

I would rather work out a piece by ear than to labour over reading notes – for it is indeed this.. labouring!

Today i confessed that when i first looked at all the notes crammed together on the page of the Kreutzer 2.. it looked like gibberish, and somehow my brain blocks out the musical notation and refuses to make sense of it.
I do wish to be able to read music as easily as i read writing on a page, and to have that same instant recognition would be quite something i imagine. This however has always been a struggle for me as a child learning the piano and even today and something i fear i will not be able to master.

Anyway.. we touched on this sore topic, (my inability to read music) which i term ‘the wall’, and Maestro can read my face when this area of music is broached, and senses greatly that i have issues with this and therefore states he tries to keep the theoritical side of things to a bare minimum, for he knows i want to enjoy my experience with learning the violin and do not want it to be a repeat performance of the distaster that it was to learn the piano. It seems however there is no avoiding it now .. this is then followed closely by another term i often use for relieving frustration.. merda!Past negative experiences with learning music as a child has done much to discourage me in understanding music structure and theory, obviously i will have to muster much determination to breakthrough this ‘wall’ if i am to fully enjoy the playing/journey in mastering this instrument.

Today there was more work on the K 2 to iron out the kinks, particularly the last remaining bars, as well as sharing in the excitement of Maestro’s new bow.. a copy of a Sartory – he handed me the stick so i could have a test drive while i played the K 2.
Even as a beginner i could feel how beautifully balanced this bow was from frog to tip and how light it was in my hand.
I later sms’d him saying that i was suffering Bow Envy… to which he replied that somewhere out there is a bow waiting for me and that he will help me find one when i say “let’s get one”.

The Kreutzer 2 will now be practiced until the ears of those within range bleed.. i offer to them my sincere apologies… not!

Maestro has asked me to bring in Kreutzer 9 – for we will start working on this next week.
As always i ask him to demonstrate so i can prepare for what is ahead. Getting him to do this can be a struggle.. in plain terms i state, it’s my money and you will do as i ask… he pretends to look shocked – ha!

Seriously.. i so value and appreciate the time he takes in sharing and expressing his passion for what he does, it is infectious and lessons always run overtime as we chat about all things violin!
I searched some images of bows and came across this one with the Fleur-de-Lys on the frog which i thought very beautiful.
I have always been drawn to this symbol, perhaps i should consider looking into a bow like this.
Maestro also suggested that my playing style, from what he can tell would perhaps have me more suited to a French style bow.
Well this is all food for thought.. for now anyway.

Violin Bow
Tourte-Viorin model in ebony with gold Fleur-de-Lys inlay and ornate gold button
weighing 61.3 grams.
This bow was commissioned by Chyn-Jen Liou of Taipei, Taiwan.
Mr. Liou has performed with several U.S. and Taiwan orchestras for over 20 years.
This is the second Berg bow purchased by this valued artist.


donna con il violino blu

donna con il violino blu © 2010 patricia vannucci

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