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Thread: What Are You Working On Right Now? (Strings Version)

  1. #241
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    The BWV 1001 Fugue is one for my favorite pieces. Not easy to play.

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  3. #242
    Senior Member Ingélou's Avatar
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    What are your ‘New Year’s Resolutions’ for your playing?

    In 2017 I decided to work through ‘Thistle & Minuet’ with my baroque bow & my fiddle teacher (a baroque specialist) and I’ve almost completed the project - just moving on to the last one, Oswald’s Thistle Sonata. There are some fabulous ‘Scottish traditional’ style tunes in that book: I especially love ‘Low down in the broom’, ‘The New Bridge of Edinburgh’, & ‘The New Bridge of Ballater’. My favourites out of the baroque art-music tunes are the Thistle Sonata, and a wonderful Minuet in A, with variations by mystery-man William McGibbon.

    For 2018, I mean to -
    * learn all the Niel Gow tunes on Pete Clark’s cd 'Even Now’. And play them as well as I can.

    * finally get somewhere with vibrato so that my long notes and slow airs can sound a bit better.

    * I’m getting there on speed - but I want to be able to play a Scots reel fast enough for dancing.

    * enjoy myself!
    We have two traditional music school holidays booked for me on fiddle and John on keyboard and concertina. Plus, we’re looking forward to seeing if John can go to the Swaledale Squeeze in spring, and I’ll take my fiddle along.

    Hey - how lucky we are to have this musical retirement.

    As long as I live and my health holds it will be ‘my fiddle my joy’.
    My fiddle my joy.

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  5. #243
    Senior Member Kontrapunctus's Avatar
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    Quote Originally Posted by ClassicalMaestro View Post
    The BWV 1001 Fugue is one for my favorite pieces. Not easy to play.
    None of his fugues is easy on a string instrument! I'm trying to get Segovia's guitar transcription of Bach's Chaconne back under my fingers. His version has fallen out of favor with its filled out textures, but I read that he was inspired by Busoni's piano version, one of my favorite pieces, so that's good enough for me!
    Last edited by Kontrapunctus; Jan-02-2018 at 19:03.
    “Or music heard so deeply
    That it is not heard at all, but you are the music
    While the music lasts.”
    ― T.S. Eliot, Four Quartets

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  7. #244
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    Well, I'm very occuppied with my composition duties, but on the offside I'm hoping to do a good job of performing Haydn's C concerto (with my own contemporary cadenza of course ), Brahms E minor sonata (just 1st movement), Bach cello suite number 2, and Kol Nidrei.

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  9. #245
    Senior Member Taplow's Avatar
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    Working on some Corelli Opus 5 sonatas, and considering buying a baroque bow for the purpose.

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  11. #246
    Senior Member senza sordino's Avatar
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    Three days ago I started working with a new teacher. I have worked with her in an ensemble, string orchestra, but not individually. I feel a little like I've betrayed my previous teacher with whom I've worked off and on for twenty years. I wanted to work with this new teacher because she knows the modern repertoire better than my previous teacher. My previous teacher is great, and very generous with his time, but what he knows mostly ends at music written before 1900. He was born behind the iron curtain and educated in the Russian school and then played in baroque orchestras before coming here.

    With my new teacher I've started to learn the Prokofiev Solo Violin Sonata and then I'll move onto learning The Lark Ascending and Aaron Copland's Violin Sonata. My previous teacher knew Soviet music, but not Anglo American twentieth century music.

    My new teacher is a member of our local professional orchestra and she performs Chamber music also. She's very busy with performance and teaching, so my lessons right now are irregular whenever she can fit me into her schedule and mine. She went to music school in the 70s and 80s in America. One of her teachers was Gingold, another originally from the Russian school. My new teacher is great, very friendly and supportive. She has many adult learners.

    Immediately what was different was that I as sight read the Prokofiev, she played along with me. That helps me find the notes. I got through the first movement in the first lesson. She knew the piece well because she's recorded it, and performed it multiple times. We ended the lesson sight reading Leclair Sonata for two violins. She says that we'll end every lesson playing duets, something I need more practice with.
    Last edited by senza sordino; Feb-04-2018 at 20:01.

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  13. #247
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    right now, I'm pretty busy

    I am working on the Giuliani Rondos op 68, it is a guitar/piano duet were both instruments are on even footing. I perform that on the 13th

    I am also working on several sets of pieces for violin and guitar. I play with a retired symphony violinist and we are booked pretty much every weekend in February and March.

    then I am playing a couple of solo things up at my Church, but I have to cover more than an hour, so I have about 100 minutes of solo material to get ready to perform. I'll be reading for this, so least I don't have to memorize the program, but about half the material is taken from my solo recital program anyway, so its already on the brain box

    all together its about 3 and a half hours of music that gets performed over the next 10 days

    ...and that doesn't count the gig Saturday with my jazz trio

    but this is why I do it. Its always great fun to be busy. I love it when every time I leave the house, I have an instrument case in one hand and a folder of music in the other

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  15. #248
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    I am currently working on Haydn G major concerto, last movement of Brahms A major sonata and the first movement of the Kabalebski con erto. The first two are coming along nicely, but the Kabalevski is a lot harder than I had anticipated

  16. #249
    Senior Member Kontrapunctus's Avatar
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    Bach's Lute Suite No.2 transcribed for guitar by Sharon Isbin--just the Prelude and Fugue at the moment. Whoa, the Fugue is a beast! Most scholars now think his Lute Suites were written for the lautenklavier, a keyboard instrument that plucked the keys much like a lutenist would, and sounded like a lute, which explains the extreme difficulty of some of the counterpoint and notes that cannot be sustained for the noted duration.
    Last edited by Kontrapunctus; Sep-11-2018 at 20:55.
    “Or music heard so deeply
    That it is not heard at all, but you are the music
    While the music lasts.”
    ― T.S. Eliot, Four Quartets

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