Oppressed by weltschmerz in the light of recent events? Staring out at leaden November skies? Then why not listen to a string quartet? So much fine music has been written for the enduring and flexible line-up of 2 violins, viola & cello, much of it anguished, sombre & tormented! One might begin near the beginning in the relatively cheerful & sunlit world of Joseph Haydn’s Op. 20 quartets (1772): here’s no. 4 from that set. A tip-of-the-iceberg selection of others… [more inside]
The Art of Conducting: Great Conductors of the Past - The Art of Conducting: Legendary Conductors of a Golden Era - The Art Of Piano: Great Pianists Of The 20th Century - The Art of Violin [more inside]
"Nobody would believe how difficult it is to be the mother of a Wunderkind. Everything I do is wrong; everything the child does is “for effect”; everything we say is utterly untrue. If Vivien runs up to me and kisses me, I hear it murmured that she is trained to do so. (“Whipped to be affectionate in public!”) So I tell her never to do it again. Immediately people remark how cold I am to the child; how the poor little creature evidently fears me and prefers Fräulein Muller. We take her with her hoop and skipping-rope to play in the park? It is said we make her pretend to be infantine, force her to act the “happy child” when people are looking on! So we take her toys from her and conduct her for prim walks between us. “Poor little unnatural creature!” say our friends: “she has no child-life at all.” The Devourer and the Devoured is a long essay by Emily Hogstad about the intertwined lives of the novelist Annie Vivanti and her daughter Vivien Chartres, a world-famous violin prodigy, at the beginning of the twentieth century.
Several members of the Philadelphia Orchestra were on a flight from Bejing to Macao that got stuck on the tarmac for three hours. With nothing better to do, the musicians resorted to doing what they do best...
The best classical performance you've never heard: the remarkable violinist Amandine Beyer plays the Diverse Bizzarrie Sopra La Vecchia Sarabanda Ò Pur Ciaccona, by 17th-century composer Nicola Matteis. Here she discusses trying to recreate Matteis's original violin technique, to understand why the Baroque composer, whose work pre-dates Johann Sebastian Bach, wrote his pieces the way he did. Previously, Beyer and her ensemble Gli Incogniti breathed life into one of classical music's most overplayed masterpieces, Antonio Vivaldi's Four Seasons.
If you were watching the Orioles-A's game from Camden Yards tonight, you saw a guy playing the National Anthem on an electric violin made out of a baseball bat. This is how that looks and sounds. This is the guy talking about and showing off his Louisville Slugger violin. And this is the Washington Post profile of Glenn Donnellan, a violinist with the National Symphony Orchestra and the maker and player of the world's only electric baseball bat violin.
"Hahn-Bin, a 22-year-old protégé of the eminent violinist Itzhak Perlman ... holds Mozart and Warhol in equal esteem ... [he's] a rare bridge between Carnegie Hall, where he [made] his mainstage debut on March 13, and the Boom Boom Room [at The Standard Hotel], where he performed at a party hosted by V Magazine during New York Fashion Week."* [more inside]
Beethoven's Sonata for Violin and Piano No. 9 in A, Op. 47 (audio) was originally dedicated to the black violin virtuoso George Bridgetower after he gave such a brilliant rendering of the piece that prompted Beethoven to jump from his seat and embrace him. Bridgetower was a musical child prodigy and composer who, despite rampant racial prejudice, reached "unusual heights in the music world of his day". Having lived and performed in major European cities such as London, Paris, and Vienna, he would later die forgotten and in poverty. A personal disagreement with Bridgetower led Beethoven to dedicate the sonata to the famous violinist Rodolphe Kreutzer instead who, incidentally, never played it in public deeming it “outrageously unintelligible”. [more inside]
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