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II. Violin Concerti

David Itkin University of North Texas Press PDF
II. Violin ConcertiSamuel BarberConcerto for Violin and Orchestra, Op. 14

As any conductor surely knows, R.M. is one of the, if not the, foremost interpreters of this work. His experience with the piece spans decades of performances, and he was a close colleague and friend of the composer’s. As such, he is uniquely qualified to share his thoughts and ideas about this concerto, one of the most important works in this genre by an American composer. Instead of dissecting this score that he knows so well, R.M.’s comments serve as a general, and very cogent, guide for study, rehearsal, and performance of this piece:

 “[It is] the most genuine attempt at beauty that anyone’s every made. It’s the most perfectly imperfect concertoI’ve ever played. I think that’s the basis from which to start, for both conductor and soloist. He didn’t know how to write for the violin and he over-orchestrated the piece, but it’s still an honest attempt at beauty. We all want to do what the composer wants, and we all want to be great stewards of the composer’s work, but what you really want to accomplish can’t be accomplished if the sound is too thick. See All Chapters
Medium 9781883217129

Chapter 8 Target Bombing

Music, SHER Sher Music ePub

Target Bombing

There is no substitute for practice. By spending a couple of hours with your instrument every day you develop a special relationship with it. You need to have a regular practice routine that contains certain constant elements (such as warm-up exercises) as well as variable elements that address your current avenue of study. And performing doesn’t count as practice. Although playing gigs is an essential part of your musical development, it won’t replace time in the practice room.

There are times, however, when you just can’t maintain a regular practice routine. All the other elements of your life crowd in and you find you have to grab a spare hour of practice wherever you can. It seems futile to embark on any long-range practice projects that will require weeks or months of steady work, because you know it won’t happen. So should you just give up? Must you put off the idea of improving your musicianship until you have more time (and are you sure that time will come)? Here’s an alternative—I call it “target bombing.”

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Suzanne Caplan JIST Publishing ePub

The most frequent interest and vocational strength that motivates people into the world of entrepreneurship is a talent for salesmanship. Give them an idea for a new product or services and they are off and running, convinced that they can create an empire. The second driving force is from those who truly love what they do and want to be able to accomplish their work without the interference of someone else (the boss). But whatever the reason for the venture, everyone knows that they need to make the sale. The challenge is to be the one who will make the sale at a profit. But not everyone knows what profit really means.

In an age when we have had much discussion about greed, you need to separate the issue of fair profit from the perception of too much. Businesses exist because they are able to make a sufficient profit that will provide the positive cash flow to continue their operations. There is a line some may cross that may be too much; but few, if any, small businesses get to the edge of this question. The more creative and innovative you can be, the more profit you should be able to make. And that is a fair reward.

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Medium 9780253010162

Part I. Critical Analysis of Physical Performance Techniques

Murray Grodner Indiana University Press ePub


Critical Analysis of Physical Performance Techniques

Use of Self

In reading this book you will find the phrase “use of self” employed a number of times. I was asked by a reader of the original manuscript to clarify the meaning and reason for use of this phrase.

You may be familiar with the Alexander Technique. I took several lessons from various teachers of this philosophy of physical behavior. Initially, the Alexander teacher “maneuvered” head, neck and shoulders, and said little, leaving me wondering what I was supposed to take with me from the lesson. For a long time I was never quite sure what I was supposed to learn from the experience. Sometime later I found an Alexander teacher who was more verbal. I brought a bass to one lesson and we explored physical challenges presented by the double bass, experimenting with various positions suggested by the Alexander teacher. It became obvious that there really is not a perfect solution for physically dealing with the size of our instrument. There is only the most appropriate physical adaptation to an instrument the size and shape of the double bass. As time went by, I believe I found the answer to the goal of the Alexander teacher and my investigation of the possibility of physical positioning for playing double bass. It is the same goal that teachers of double bass should constantly be working toward: making the best use of self. Although I am not positive, I believe this might also be one of the goals of the Alexander system. If not, unquestionably the premise to make “best use of self” is. This goal is essential for the most successful fulfillment of our physical and musical aspirations.

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Medium 9780253010186

4. Repertoire and Sources

Lawrence Bennett Indiana University Press ePub

It is difficult to assess the amount of cantata activity in Vienna during the first half of Leopold’s reign, roughly 1658–80. Vast numbers of lost vocal chamber works by Bertali and Sances may have been composed between 1658 and their deaths in 1669 and 1679, respectively.1 The performances of several Cesti cantatas in 1667 tantalizingly suggest that this pivotal composer may have written additional cantatas for Vienna. The cantatas by A. M. Viviani undoubtedly date from this period, as well as perhaps some of those by Draghi, Vismarri, and Cappellini. If so, then these years spawned a rich array of vocal chamber music. A different picture emerges for the second half of Leopold’s reign. Extant sources and available information about occasions, librettists, and performers indicate that, in general, composers employed by the Habsburgs during these years devoted only sporadic attention to the cantata at a time when countless cantatas were being composed in Italy. Several reasons can be advanced to explain why so few were written for Vienna.

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