History and Legacy of the "Russian" Violin Bow Hold by Emma Jensen Price - Part 3: Performance
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- Опубликовано: 17 окт 2024
- Part 3: Performance
In this segment of The History and Legacy of the “Russian” Violin School, Emma Jensen Price presents an overview of famous students of Leopold Auer, and their application and individual interpretation of the "Russian" bow hold. The survey includes modern artist performing with this technique today, including Ida Haendel, Igor and Vesna Gruppman, and Clayton Haslop.
Part 1: Pedigree
• History and Legacy of ...
In this segment of The History and Legacy of the “Russian” Violin School, Emma Jensen Price outlines the history of Italian, French, German and Russian schools of violin technique. This includes a discussion of lineage and influences of great performers and pedagogues including Viotti, Joachim, Wieniawski, and Auer.
Part 2: Technique
• History and Legacy of ...
In this segment of The History and Legacy of the “Russian” Violin School, Emma Jensen Price presents a historical analysis of German, Franco-Belgian, and Russian bow techniques as documented by great pedagogues including Leopold Mozart, Leopold Auer, and Carl Flesch.
What a wonderful research you did ! Thank you !
Thank you for letting me know, and letting Emma (the presenter) know how much you appreciated her research! Were you able to view all 3 parts of the series? ruclips.net/video/lxgX4-nwWQo/видео.htmlsi=1-oA33n7jAPpONrb
I did study with Nathan Milstein.
Hi Dylana, thank you for your comment. I enjoyed watching a few moments of your masterclasses and performances on your channel. So glad to meet you. I would love to hear more about your studies with Milstein. How many years did you study with him?
Auer did not teach the Russian bow hold, Zimbalist concludes that Elman did start it and it spread by observation.
Thank you for your comment. What a fascinating perspective! Can you please point me in the direction to find this quote from Zimbalist? With respect to Auer's writings, I agree that "Violin Playing As I Teach It" contains no information about this technical style. However, Auer's "Graded Course of Violin Playing" contains images and verbal descriptions of bow technique that directly correlate with the majority of technique that Auer's pupils used. It is also interesting to see video footage of Auer's pupils and note the individualism in each style. It's wonderful that the preface to Auer's bow technique instruction in the Graded Course states, "Exact and unalterable rules as to one particular manner of holding the bow cannot and should not be laid down, as much depends upon personal opinion, and individual needs owing to differently shaped and proportioned arms, muscles and fingers." I also find it a bit humorous that Auer gives this statement directly before outlining his version of the "one particular manner of holding the bow." He clearly had his own strong opinions, but wisely allowed his students to adapt for their individual needs.
@@emilyricksviolin I believe I read that in the Elman biography by Kozinn or the Zimbalist biography by Malan.
@@emilyricksviolin it's actually in the zimbalist biography. Additonally Flesch remarks that Auer did not teach this bow grip until after Heifetz. If you read in Flesch, he attributes it to Wieniawski coming to Russia. It's all very interesting, and there is a great strad magazine attributing globalization to the spread of the franco-belgian method. If you want any citations or more videos, let me know. Thank you sharing this, this golden age is so important for people to see.