one of my favorite violinists, augustin hadelich posted a short clip of rehearsal with indianapolis symphony orchestra of fritz kreisler's cadenza to beethoven's violin concerto in d major, op 61
I must say I'm not always the biggest fan of hadelich, but I'm obsessed with his rendition of this piece and specifically this movement. there is a playfulness to it that I absolutely love
Y'know, my first thought was "that's too slow" but if you go find video of Aaron Copland conducting this piece himself, this is pretty close to the tempo he conducts it at. And as music for a ballet, which this is, this pace makes more sense.
Tonight I’m back to see the Toronto Symphony Ochestra joined by world renowned violinist Augustin Hadelich playing Sibelius’s Violin Concerto! Also on the program is a selection by Anna Thorvaldsdóttir, Viennese waltz music from Richard Strauss’s Der Rosenkavalier and Ravel’s La valse!
quick reference post for artists because i'm a violinist and Suffer Every Day
the bow:
the bow hold:
there are two main schools of violin bow holding--this article goes into more detail if you're interested--but the general shape is pretty consistent. the thumb and middle finger oppose each other and are where the main weight of the bow is held; other fingers are for balance and direction. the wrist is generally above the bow itself when playing closer to the frog, level in the middle, and lowered near the tip. note the lines below:
(pictured: nicola benedetti, midori, gil shaham, and nicola benedetti)
the angle of the arm changes depending on how the violin is positioned and what string is being played.
the violin:
adult performers all use full-sized violins, which have 36 cm (14 inch) bodies.
the violin hold:
the violin is ALWAYS held on the LEFT SIDE. it doesn't matter what your dominant hand is, it still goes ON THE LEFT. this is because the violinist's natural habitat is the orchestra, where they must sit close to other violinists while playing. it prevents stabbing accidents. trust me.
the instrument is held underneath the chin--sometimes with the additional support of a shoulder pad, as you can see in the fourth picture--and away from the centre of the body. note that the instrument looks bigger in the first two pictures (with midori) than it does in the third and fourth (with augustin hadelich and gil shaham). the instrument is the same size; the performers are not. note also that the position of the left hand varies radically in all the pictures i've shown.
you'll sometimes see performers who have a cloth under their chin, like the second midori picture. this has been more common in the past six or so years--i don't use one myself, but it can help prevent irritating the skin on your neck (because when you spend 4+ hours a day rubbing your delicate neck skin on wood, it adds up). whether or not a performer uses a shoulder pad depends both on the length of their neck and personal preference. i have a long neck and consequently have a custom chinrest AND a tall shoulder rest; my professor, who is built similarly to me, uses an extra tall custom chinrest and no shoulder pad.
most importantly: violinists traditionally make really weird faces when we play.
(ray chen and gil shaham)
if you need more reference photos, look up A SPECIFIC VIOLINIST and use those. you can also find SO many live performances on youtube if video is helpful!
I was tagged by the lovely and talented @royaltyisshe64. Going for four categories because I’m that kind of person: popular, jazz, soundtrack/showtune, and classical.
POPULAR
“Tell Me Why” - The Beatles
“O Captain My Captain” - David Broza
“I Give You Give Blind” - Crosby, Stills, and Nash
“Sultans of Swing” - Dire Straits
“The Art of Dying” - George Harrison
“Night in the City” - Joni Mitchell
“Game of Love” - Katrina and the Waves
“Luckie” - Laura Nyro
“Calico Skies” - Paul McCartney
“‘39″ - Queen
JAZZ
“Plea for Peace” - The Afro-Semitic Experience
“My Favorite Things” - Dave Brubeck
“De-Lovely” - Ella Fitzgerald
“A Nightingale Sang in Berkeley Square” - Glenn Miller Orchestra
“What a Wonderful World” - Louis Armstrong
“Popsicle Toes” - Michael Franks
“So What” - Miles Davis
“Pirate Jenny” - Nina Simone
“Somebody Loves Me” - Oscar Peterson
“Night for Crying” - Tim Weisberg
SOUNDTRACK/SHOWTUNE
“At The Ballet” - OBC, “A Chorus Line”
“Livin’ It Up on Top” - OBC, “Hadestown”
“Non Nobis Domine” - soundtrack from “Henry V” by Patrick Doyle
“The Daily Grind” - soundtrack from “Jeeves and Wooster” by Anne Dudley
”More and More” - Dudu Fisher and Ruthie Henshall, “Kol Nidrei””
“Overture/Main Titles” - soundtrack from “Lawrence of Arabia” by Maurice Jarre
“Main Title” - soundtrack from “The Lion in Winter” by John Barry
“People Will Say We’re In Love” - Maureen Lipman and Hugh Jackman, “Oklahoma”
“My Man’s Gone Now” - Leontyne Price, “Porgy and Bess”
CLASSICAL
“Concerto for Violin” - Samuel Barber/Joseph Silverstein and the Utah Symphony
“Concerto for Violin and Cello” - Johannes Brahms/Nathan Milstein and Gregor Piatigorsky
“I Bought Me a Cat” - Aaron Copland/William Warfield
“Captaine Digorie Piper, His Galliard” - John Dowland/Consort of Musicke
“Sonata for Cello” - Edward Elgar/Steven Isserliss
“Sonata for Violin” - Cesar Franck/Augustin Hadelich
“Romeo and Juliet” - Sergei Prokofiev/Berlin Philharmonic
“The Rite of Spring” - Igor Stravinskky/Zubin Mehta and the New York Philharmonic
“Reconciliation” (from “Dona Nobis Pacem”) - Ralph Vaughan Williams/Brian Rayner Cook, Edith Wiens, and the London Philharmonic Chorus & Orchestra
“The Saga of Jenny” - Kurt Weill/Dawn Upshaw