Tanglewood Music Center Violin Master Class Part 1
Вставка
- Опубліковано 25 жов 2012
- Violin Master Class Part 1
Malcolm Lowe, the Boston Symphony's concertmaster, leads a violin master class focusing on orchestral excerpts and auditions. "The excerpt/audition class is to help our students hone their musical and technical skills to a point where they can perform well in that critical ten minutes of time, the audition," Mr. Lowe says. "The goal is to give them the knowledge of the music, approach, and insights into practicing to achieve success not only at the audition, but as great contributors to the team after joining an orchestra."
Very fine young players and excellent coaching
This is very helpful.
The first candidate is playing Mozart 39 with a lot of vibrato and also in high positions. This is anno 2012 ,today, completely out of style and not acceptable in many orchestras in western Europe. Why does Lowe not comment on this? After 10 minutes the commission will refuse you immediately. Beside that, all those people have serious intonation and technical problems as well....
Because his opinions are arbitrary, subjective, although he does not know this. He thinks he speaks truth.
He doesn't comment on this because the American symphonic tradition is different from that of Europe. American orchestras expect that someone playing the Mozart 39 slow movement excerpt will go up the D and A strings, respectively. I prefer the European way but I'm an American taking American orchestra auditions, so I go up the lower strings. At the end of the day, we all want the job, and it isn't worth losing out over a fingering decision, which is all that it can take with such competitive fields of musicians.
@@MaggieBoy12345 Thanks for your sincere answer. I am myself an orchestral musician in a leading dutch orchestra for many years. So I know what it ment to do an audition. Actually I did several....
He didn't teach anything the second person.. Saying something is wrong without fixing is not helpful!
He said a lot. Her playing was already at such a high level that it didn't lend itself to the kind of technical correction he offered the first instrumentalist. But his instruction to the second person about critical self-listening was, in many respects, more profound.
@@cheatwallstreet263 Exactly, plus she played it again and it was better.
I wonder what are they paying for this?
Nothing. They're all on fellowships.
How to learn to play to fit in. That pretty much sums up orchestra playing. And that becomes your life--fitting in and pleasing a conductor's whims. Your opinion is meaningless. No need to think. A human robot. No wonder they sound so dull. Finding your way in the world by saying to a succession of masters, “Make of me what you want; I am what you want me to be.” The plastic capability. Sad. They practice for years, hours per day, to have a ten minute chance to become a slave. Seems cultish.