Live Q&A | Ask anything Violin or Music related!
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- Опубликовано: 8 янв 2024
- Today I'm starting a new series where I do live Q&A's on RUclips, sometimes with a guest. This time my guest is Julia Bushkova, one of the world's leading violin pedagogues. Together we'll take any questions or discussion topics you might have in the chat!
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You two together have a great synergy -- please do more !!!💗💗💗
You should invite her regularly, Daniel! She's busy and rarely make youtube videos. Grateful to both of you! Watched you 2 on Tonebase as well.
That was wonderful. Two of my favorite violin teachers on RUclips talking violin!
I watched it three times, it's fantastic and very inspiring, thank you and please, do more! I'm also happy to report that Grigorijan's scale book has been translated in English and published in 2022 (Ed. Muzyka), I think it's available even on Amazon.
Can you possibly point me to the English edition of the Grigoryan scales?
An absolute joy to hear two such inspiring violin teachers and artists in their own right, engage with each other about our beloved instrument. Thank you both so much. People like you make life very special ❤
How fun and funny is Daniel Kurganov is overlooked in my opinion!
I caught all the jokes, man!😂
I’m a kinda self taught meaning I have a lot of teachers all across RUclips! And Every time
I watch one of your violin, I’m guaranteed that I am gonna learn a lot!
So thank you for being you!
Zoria Shikmurzaeva was born in the capital of Tatarstan, Kazan, USSR (now Russia) in 1933, and started playing violin at the age of 6. Her teachers were: Vladimir Wulfman, Kayum Baiburov and Abram Il'ich Yampolsky.
Zoria was a rapidly rising star in the early 50s. Her first success was the Grand Prix and Gold Medal at the First World Festival (Первый Всемирный Фестиваль, 1953), followed by the prizes in the first Tchaikovsky Competition in Moscow (1958), Queen Elizabeth in Belgium, and Marguerite Long-Jacques Thibaud International Competition in Paris.
Unfortunately, the young violinist was placed on the "black list" by a certain powerful person and was not allowed to tour in the West for most of her life. Thus, her stunning playing is virtually unknown in the Western Europe and the United States.
She has toured the former USSR extensively and often heard on the national radio within the country. She began teaching in the Moscow conservatory in 1956 and remained a Professor for 40+ years, until October 2008 when she suffered a stroke.
She passed away on April 24, 2010, in Moscow.
I have been following each of you for a while and to see you together is really great. Inspiring how you both went such unique paths as violinists. I can relate to the challenge of finding a trusted teacher after college graduation! Your tips are very helpful! Thank you! 🙏🏻💕🎶
Mil gracias a los dos por esta conversación! Dos profesores fantásticos. No me canso de escucharos y os agradezco vuestro compromiso con los que amamos el violín! Vuestros canales de RUclips son un tesoro para mí 👏👏👏👏👏👏👏👏👏👏💜🎶💜🎻
You are the most live person I know.
prunes will do that to you
Thank you for letting Julia talk at great length.. I really enjoyed this!
I am so glad you mentioned Gregorian scale book. It is widely used in China but not many people know this scale book in the West. I live in England and cannot find much information about it in English at all. In the end I bought a copy from China, its amazing. It's much more comprehensive than Hrimaly, and not as advanced as Carl Flesch.
Daniel: You’re a natural on live stream!
Thanks so much! I hope to cultivate this series of solo and +1 livestreams to really give viewers the best content possible!
I watched this Q&A after it was produced with a great delight!! Two of you have a such positive and complementary energy together and one can feel how much you respect each other!! Moreover, you always bring forward such rich knowledge of violin playing and teaching, and new and exciting content!! THANK YOU!!
(Mrs. Bushkova has such beautiful hands and her 4th finger is so elegant with a nice open space between the 3rd and 4th fingers. Delight to watch!!)
Not sure if this is all right with you (and if not, just ignore) but here are several insights that may make your future sessions even more informative and significant:
(a) Considering how popular your channels are and how much influence you have, it would be nice if you could incorporate in your discussions/answers more scholarly knowledge of string pedagogy (e. g., when you were answering the question on 4th finger it would be nice if you could talk about Geminiani Chord with Leopold Mozart's twist to it, followed by how Campagnoli used it, all way to Fischer's take on the use of Geminiani Chord in formation of left-hand frame and the shape of 4th finger; also talking about Havas' and Menuhin's takes on 4th finger would be appropriate as well as Fischer's exercises on widening the base joints; "scholarly" supported answers would give your channels even more educational importance.)
(b) Be little more "sensitive" to questions (e.g., the question on wrist flexibility...both of you demonstrated fingers flexibility and did not address at all the wrist flexibility; your answers could benefit from sharing Ševčik's exercises for writs flexibility; the point that Daniel was trying to make on bow changes in piano could be supported by Tertis' essay on beauty of sound and so on; also there is no way to give complete answer to any right hand related question without including Capet.)
(c) Be little more careful with making bold statements that are not supported by evidence (e.g., stating that Flesch' s Scale System is not the "system" when, if one reads Flesch's books carefuly, it is very clear that Flesch intentionally created "system" in which all scales except G major/minor, A flat major/minor, A major/minor start with second finger for the purpose of being systematic with scales' fingerings (BTW that second finger "system" started with Geminiani and was used by Paganini).
In any case, I have a great respect for both of you and your work, and these suggestions are shared for you to take in consideration or to ignore.
Yes, if you can find time, PLEASE invest time in translating an amazing writings by teachers at Soviet School (Mostras who wrote a book (treatises not method books) on virtually every aspect on violin teaching, Yampolsky, Jankelevich, even Stolyarski...also there was a woman Tatyana Pogoževa, Yampolsky's assistant, who wrote an amazing book on teaching young students while using principles of Soviet School; NEH offers solid grants for scholarly translations).
Thank you once again for this WONDERFUL conversation and I look forward to more! Blessings. Dijana
Thank you Dijana, and thank you for your thoughtful feedback. It’s a difficult forum to get into granular levels of detail (such as a discussion of the literature, etc). Case in point: we only got through a fraction of the viewers’ questions :)
I think I can speak for both of us when I say that with our more produced/long-form videos, we take the granular liberty and dive into the literature with the care it deserves. In any case, it’s my goal to do more live-streaming and improve with each stream.
And thanks for mentioning Pogozeva and Tetris’s essay on sound - both new for me.
Great, thank you so much!
It’s such a pity I couldn’t be with you guys (due to time difference)! There were many subjects I could vote with two hands for (for instance « legato absence » or delayed vibrato pandemic), but I especially regret about missing the video excerpts of Alexander « Dolik » Labko who was a person our mother mentioned so many times and whose concert we attended together in Moscow (around 2006-7)…Unforgettable! Thanks so much for both of you!
This was great (watched the next day) getting to eavesdrop on two people who know what they are talking about. And being introduced to different violinists (Radzynski, Sayevich, Silberger, Labko) not necessarily well-known. Kudo's to Daniel for being so adept at managing the windows and pulling in videos and score pdfs on the fly.
Splendid ❤
Missed this live ! I watch now better late etc! Click like!
Julia:"I thought he has a father" - 😂 I am crying. You are not only the best professor but also the most intelligent and funny human being
Yes, you are Live
I can't remember the world class violinist who plays classic music on top level with absolutely no formal school / teacher in his education. Basically it is possible to achieve very high level of playing with no school but one getl old until he reaches such a level, so he cannot make the normal carrier.
About violin sound: it is great advantage (and responsibility) for a player if he can make and adjust his sound post. Pay attention it is not just moving your sound post around: you need to have knowledge to make several sound posts and move them until you reach the "perfection". Enormous advantage of that knowledge is also psychological: you browse the spectrum of your instrument and choose the very best you like. That way you never question your sound from the point of instrument, you know exactly what you have and know that is the top your instrument can possibly achieve in terms of quality, strength/projection and whatever you might be after. I managed to make my bridge, my sound post, my fingerboard shape and my scroll. I determined my string height difference. Not only the sound of violin was FINALLY after many decades up to my expectations (and above). But that also tremendously helped me to improve my technique, because there are no ambiguity why something sounds bad - it is because of me, not because of violin. You also learn the weak points of your instrument so if it is not of catastrophic nature, you will adopt your technique to your instrument.
What they talk about low G quality in comparison to E range, it is actually your choice of making and positioning your sound post. If your violin is any good, you will be able to choose the sweet point to fulfil your specific demands. I even made an article of my experience during this process. Anyway one who could adjust his own instrument is far ahead people who must rely on a luthier who generally don't know to play and cannot even test the instrument as you can yourself, and also cannot know what sound would you prefer.
Love your enthusiasm, but allow me, for the sake of anyone reading, to heartily disagree with most of what you just wrote.
🙏❤️
@@DanielKurganov Absolutely I agree with your comment. For the sake of others, if you disagree with most I wrote, respecting your time, it is maybe easier to list what you agree on (if any 😀).
BTW please don't consider what I wrote the universal receipt for everybody. It worked for me. Also in case you have your own experience in mechanical setup your instrument, it is very valuable for me and others to give a personal hint of that as well.
Just go on with your videos, I am sure everybody like and need them. Good vibes!
Edited disclaimer:
One very important missed note that I forgot in above mail. This comment of mine is appropriate only for owners of cheaper violins and probably recreative players relatively speaking. By no means I advocate experimenting on expensive instrument. I also have a years of experience in working in wood, metal and other fields.
@@DanielKurganovA musician never will be satisfied with the sound post position if he will do it himself.
That is why never do it for yourself.
Nice that you mentioned Clayton :)
It's interesting the subject of listening to your playing, the more you listen the better your hearing perception gets but the more flaws you discover to be corrected.. so it's like an arms war between ear and technique that never ends :)
The quality of sound depends very much on set up and choosing strings that work well with one's violin. Pls comment
Very good live! One question, how many hours do you study per day both when you started and at this moment?
What do both of your wonderful teachers say about the IDEA , that when you rehair your bow to put the hair at the frog with leaving out the first and the last 1.5 Millimeter, so that you don't have to tilt the bow in the higher middle positions???
I, a piainist-composer, wrote a violin music meant to be performed alla pizz only. Then would it be better played with violin held to the side belly just as in guitar, mandolin playing?
Why not?? :)
Hello!
I'm very interested in these Russian etudes (1:03:01) , but I don't see an author.
Where can I get this book? I tried to type what is in Russian into Google, unfortunately without success.
And BIG Thank You Two for this video! I need more of this! :)
Try to type:
Григорян гаммы этюды
I missed it 😥, for being in Europe the time wasn’t ideal…
Scheduling constraints were a bit unfortunate this time. Next time I will optimize for USA/Europe!
Yeah at 3am in the morning it was a bit hard 😂. Looking forward to the next stream.
Good morning
Oops. Missed by 2 hours. I’ve very sorry to have missed two great teachers together.
Best all of time rosin name?
baby powder