NY Audition Challenge Week 7: Brahms 4
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- Опубликовано: 5 сен 2015
- This week's excerpt is the 3rd movement of Brahms 4th Symphony. Only one more left after this one (Debussy La Mer)! The Brahms is difficult because it demands a near-perfect balance of tempo, dynamic and character. In addition, there are technical challenges involving pitch and string crossings. Players often get stuck in between "on the string" and "off the string" strokes, or between "from the string" and "from the air" articulation. I give you a complete take at the end.
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I have watched uour videos since you started this project. I had the privillege to watch you playing obce in Lexington KY, when I was a student of UK. I just wanna say that I have learnt a lot with you. Thanks for sharing your knowledge!!!
I'm a violist and I follow your channel with great interest. Getting new ideas to face old challenges! Thank you so much for sharing all your knowledge and experience!!!
(just as a note giocoso traslate exactly with playful,
While gioioso is joyful, hope not to annoy with my unrequested correction) greetings from Italy!
Congrats!!!
thank you!
14:09 only the extract
You play violin beautifully, Nathan! These videos are very helpful to me, I'm going to audition for the Phoenix symphony on September 19. But all of these composers are not part of my repertoire; I learned violin using the Suzuki method(lots of Bach).
God bless you
Hi Diogo, thank you! Great to see another Lexingtonian here.
12:29 --- I tried the fifth position extension, using 2nd finger as the fifths had trouble getting clarity.
Notes: cac egd bdb gbga
Your fingering: 131 342 -121 2123
I had to adjust: 131 341 313 1312
For some strange reason, I find it comfortable to be able to tug on the A/E string with the first finger. Is this viable? Or will it mess up hand frame?
Where do you get your shoulder cloth from? It's to provide more friction isn't it? I tried my colleagues one the other day, and I want to get one, but she doesn't remember where she got her's from. Great video by the way! Thanks
thats so helpfull but IMHO at the end of the day, imagination and sentimental fantasy is the key
Hi
Nice to talk to you, Maestro.
Could you please tell me the name of the chamois cloth you use on your shoulder?
I'd like to try it.
Thank you very much forward.
Do you adjust your bow grip in terms of where you hold the stick (how far up from the button) as you play? it looks that way in this video. If so could you please briefly describe what you are trying to achieve? Thank you.
Thank you for this informative video. What curious me is why there are some violinist who don't use shoulder rests? Like you :)
I actually wrote an article about that question! Here is the link:
www.natesviolin.com/ditched-shoulder-rest-30-years/
Wish to have about woodwinds
I find it frustrating when auditions simply list an entire piece for an audition. It would be very time consuming to practice the whole piece in addition to the other excerpts. Is there a way you go about preparing for that?
+Erik K. Whitesides Hi Erik, unfortunately there's no great way around that! I remember Boston Symphony asking for all of Brahms 4, and it certainly took a lot of time to make sure all those pages were polished. It is frustrating, but the alternative is showing up and being asked to play something you're not ready with. Most pieces get easier to play in auditions when you know them either through recordings or through the experience of playing them in a group. I know you don't always get to choose when to play these pieces in orchestra! But build on your experience in orchestra when you're preparing these excerpts; play them as you would in a group and keep the whole orchestra in mind. That helps you get the character of each one. Hope that helps!
+Nathan Cole Thanks for the advice. I wonder if they are also trying to weed out people that practice for example the first 2 pages of Don Juan to perfection, and don't know the rest of the piece:).
I don't use a shoulder rest either, so this might be of interest to you. For the back of my instrument, I use a strip of tennis overgrip and place it along the back edge of the instrument where it meets the collar bone. The tennis grip material naturally grips the varnish, doesn't require glue to hold it in place, and it doesn't dampen the sound. I find it less cumbersome than chamois cloths, etc.
+Erik K. Whitesides Thanks for the tip as far as the tennis grip! I almost forgot about that stuff, since I used to play a lot of tennis up through high school. That tradition of asking for whole pieces goes back a generation, when candidates were expected to just "know the standard repertoire". I think that when orchestras ask for those big pieces nowadays, they do discourage some people from auditioning... but are they discouraging people they might actually want in their orchestra? Maybe! The bottom line is that if you really want that job, you have to learn the piece and be prepared. At least you'll know that any other serious candidate is dealing with the same thing!
I am curious as to what is on your shoulder?
+Samir Robinson Since I don't use a shoulder rest, I put a piece of leather on my shoulder so that the violin doesn't slide around too much. Only the very back seams of the violin touch the leather, not the vibrating "back" itself.
Where is the first video in this "series"?
You'll find it under Week 14 welcome, here:
ruclips.net/video/pFv3l65TLsI/видео.html