Tag Archives: violin

by | June 24, 2012 · 10:07 pm

BSO Academy, Round Two

20120624-220700.jpgWe’re off and running on another BSO Academy. There are more than 100 musicians here this year to play side-by-side with members of the Baltimore Symphony Orchestra and under the baton of Marin Alsop.

So far, the week is off to grand start. A big difference this year is a partnership between the BSO and the Baltimore School of the Arts. Our first sessions are taking place in rooms that were purpose-created for teaching music, meaning there are lots of music stands and pianos everywhere to support playing. There are dozens of rooms for practicing and private lessons in the middle of Baltimore’s Mt. Vernon neighborhood.

There have been some lovely events to help us get acquainted with other musicians here. Among attendees I’ve met so far are a retired violinist from the Kansas City symphony who is now playing the harp and another violinist who works on environmental issues in Maryland but also plays the flute and saxophone. This year’s roster includes a significant number of teachers — finally able to attend because this year’s Academy is a little later — after school has let out for the year.

Today, we eased into playing with a fun session of string orchestra and a helpful master class — both led by BSO ConcertMaster Jonathan Carney. In the evening, chamber rehearsals began, and I worked on Mozart with the delightful Ivan Stefanovic of the BSO.

Sectionals take place tomorrow as we begin work in earnest on the Orchestra repertoire, with our first rehearsal in Meyerhoff Hall scheduled for Tuesday. We’re aiming for a great concert on Saturday evening, June 30th.

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by | July 14, 2011 · 8:30 pm

Summer Breaks

Another big summer event for string players in just around the corner.  Interlochen in Northern Michigan hosts the annual Adult Chamber Music Camp next month, for a full week of playing in small groups.  For those who can’t do the whole week, there’s also a String Chamber  Orchestra Weekend.  While I’m pining to go, my schedule this year – with Baltimore and all – just can’t spare the time.

Rebecca Nichols

Meanwhile, how does a professional violin player spend her summer?  Rebecca Nichols, the coach of our chamber group at the BSO Academy and a first violin player with the Baltimore Symphony, is spending her summer on a sailboat with her husband, sailing up the East Coast to Maine.  You can read about her experiences and see some great pictures on a blog she’s writing: Becky’s Sailing Adventure.  And, just because she’s sailing (or battling seasickness) doesn’t mean that she stops practicing.  She isn’t taking her best violin on the trip, but she is playing as they go!

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by | June 19, 2011 · 10:11 pm

BSO Academy, Friday Chamber Music (Georgeann)

Friday afternoon, our String Quintet assembled for a final rehearsal before the Friday night chamber concert.   Our usual rehearsal space was occupied, but we were able to use the platform set up in the lobby of the Meyerhoff for the performance.  The acoustics were very different from the vestibule area we had been using, and we were able to make some adjustments that would pay off big time in the performance.

In all, more than half of the Academy participants had signed up for Chamber, so 17 groups in all were performing on Friday night.  There were string trios and quartets, flute trios, a double-reed quartet (three oboes and a bassoon) and a number of different combinations of brass. Our group was number 16 on the program, and I have to admit it was intimidating to play with nearly half of the professional orchestra members sitting in the audience!   We played the Scherzo from Dvorak’s Op. 77 String Quintet in G — a piece that was not familiar to most of the orchestra musicians (not many string basses play chamber music!). I played 2nd violin on this piece (the part played by the woman in the gold dress in this YouTube video.) We acquitted ourselves well and toasted each other at the end.

The only part of the orchestra not represented in the Chamber experience was percussion, but they had performed for us at lunch earlier in the day.  More than a dozen musicians beat drums, shook rattles, rang bells, played vibraphones, and even used a rain-stick on a piece called Rainforest Journey.   They were great (MUCH better than this YouTube video of a high school band) and we asked them for an encore.

Many of the amateurs found the Chamber experience a particularly meaningful part of the Academy.  Participating gave you extended one-on-one time with a symphony professional in your instrument, a small group to become very close to, and a piece of music that we could play just for fun.  Our group certainly bonded, sharing several dinners together at neighborhood restaurants, and introducing each other to our spouses as they began showing up for the final concert.

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by | June 19, 2011 · 9:50 pm

BSO Academy: Little Change, Big Difference (Georgeann)

Thursday morning, our Group had a late rehearsal with Marin Alsop and the orchestra, so it gave me a chance to “lock in” on some advice I had received in a Wednesday morning lesson with Associate Concertmaster Madeline Adkins of the BSO.

Ever since I took up the violin again, I have not felt secure about my control over the bow.  She looked at my grip, suggested a slight change, and then said, “I don’t feel secure unless I can feel the music in my index finger (of the right hand).”  What she said immediately connected with me, and I gave it a try.   But I couldn’t seem to get it.

Her ultimate diagnosis was simple.

“Allow your arm weight to rest on the bow.  The violin can take it.”   She was right.  I had been holding the bow up and moving it across the strings, but not allowing my arm weight to rest on the bow and fully engage the instrument.

I relaxed, and let my arm weight settle on the bow.  The change in sound was immediate, and my finger could “feel the music.”  A few more bows across the string, and it felt “right.”  I had regained the sense of control I had been missing.

That’s not to say that I have mastered the bow.  It seems to be a constant struggle for everyone.  The scales professional orchestra players do before each concert are as much about bow discipline as they are about fingering the notes correctly with the left hand.  It is also said that Pablo Casals used to spend hours playing open strings on his cello, figuring out the nuances of bow control.

Nearly all of the orchestra members I talked with mentioned the importance of the bow, and that the bow needs to be “in charge”.  I was frequently told that if the bow is doing the correct rhythm, the left hand fingers will eventually fall into line in difficult music.

I’m still figuring that one out, but in the meantime, I do know one immediate side effect of my lesson with Madeline:  letting my arm weight rest on the bow, instead of holding the bow above the instrument, helped prevent the “knife in the back” pain I had been experiencing when playing for longer periods of time.

One simple change.  Big change in sound.  No more pain.

I’ll be writing about the interesting “musician’s body” stuff we learned at the Academy in future posts.

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by | June 13, 2011 · 10:41 pm

BSO Academy, Day 2 (Georgeann)

A very jam-packed day in Baltimore, with six hours of playing and a whole lot of music.  Some phrases that stick in my mind from the day:

  • “Use less bow.”  From my private lesson this morning with Gregory Kuperstein, a BSO first violinist, originally from Russia, and a long-time orchestra member.
  • “In this section, it’s very noisy with drums and horns, so if you get the notes wrong, it’s not a big deal.”  GK, again, commenting on the Hindemith.  (You have to imagine the Russian accent).
  • “Balance your skull over your spine, and release your legs to the floor.”   From this morning’s class on the Alexander Technique.
  • “When you are exhausted, you start muscling through, and that’s when injuries happen.”  From this morning’s session with a physical therapist, who warned that unless a therapist specializes in musicians, they may give you the wrong treatment.
  • “Here’s a simple stretch for string players to relieve tension in your hands before and after you play.”  Advice from same physical therapist.  One hour later, therapist is mentally subjected to some choice language when stretching results in a cramp in my left hand (the one that fingers the strings) just as sectional practice is beginning.
  • “Have any of you tried playing the first violin solos in the Rimskey-Korsakov”.  In violin sectional practice. Several players start demonstrating their proficiency.  I am firmly shaking my head — isn’t the concertmaster supposed to play those and let me just do the pizzicato?
  • “In this section, it’s very noisy with drums and horns, so if you get the notes wrong, it’s not a big deal.” Igor Yuzefovich, Assistant Concertmaster leading the string sectional, commenting on the Hindemith.  He was born in Russian, but doesn’t have the accent.
  • “Each of you WILL play a violin solo in the Rimskey-Korsakov.  Expect Marin to call on you during rehearsal tomorrow.”  IY’s announcement at the end of the string sectional.  Yikes!  Where is the practice room?
  • “WE DID IT.”  Group chorus after our string quintet manages to sight-read through the entire Dvorak Quintet in G Major, before deciding to focus on the Scherzo (2nd movement) only for Friday night’s concert.

And finally,

  • “Thank goodness we decided not to stay in the dorm.”  Viola Judy and myself, as we return to our hotel room after a 12 hour day of music to freshly made beds and clean towels.  The folks staying in the dorm have been without hot water because of a malfunction, and have to get through the week using only one towel.
Tomorrow, our first full rehearsal with the musicians of the BSO and Marin Alsop.   That will be me ducking when the Rimskey-Korsakov solos are assigned!

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by | June 10, 2011 · 9:25 pm

The Tempo of Life

I’ve been thinking a lot about tempo lately.

BSO AcademySome of the thinking has its roots in the music I’m struggling to master for next week’s BSO Academy.  I’m starting to get my fingers and bow around most of it — but at half-speed.  I’m nowhere near as fast as the recordings I’ve been listening to of Hindemith, Rimskey-Korsakov, and now the Dvorak String Quintet in G (my designated chamber music piece – 2nd violin).  And the thought of trying to play as fast as the music demands fills me with terror. Continue reading →

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by | April 3, 2011 · 11:46 am

This and That: Music, Work, Life

First, the news.

Detroit Public Television LogoI have a new job and a new title.   Senior Vice President, Content and Community Engagement, at Detroit Public Television.   I’m working on plans to address DPTV’s five key issue areas:   Energy and Environment, Leadership, Arts & Culture, Health, and Kids/Education.   Continue reading →

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by | March 10, 2011 · 7:32 pm

Symphony Fantasy Camp

BSO AcademyThe envelope was large, brown, and addressed by hand.

“Dear Georgeann,

“Congratulations!  After careful review of your application, the Baltimore Symphony Orchestra is pleased to offer you admission to the second annual BSO Academy …”

I’m in. Continue reading →

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by | February 6, 2011 · 9:58 pm

Catching Up …

2011 has started in a rush, and it’s already a week into February!

Just back from the 2011 Sphinx Competition, which featured final performances from the Junior Division this year.   Congratulations to Alexandra Switala, who captured the first place price with a passionate, charismatic performance of Mozart’s Violin Concerto #5 in A Major.  Her animated performance stole the show from Annelle Gregory, whose more restrained classic performance was gorgeously rendered, but which left her in third place.   My row, however, was rooting for Xavier Foley, the young bassist who captured second place while bending in half over his instrument to play notes in positions never intended on the bass in his performance of the Dittersdorf Concerto in E Major.   Continue reading →

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by | October 23, 2010 · 11:32 am

Violin to Viola: Am I Crazy?

Last week, when a group of musicians gathered to play together in a friend’s living room, I learned that some of my acquaintances get together every Saturday morning and play string quartet music.   I was invited to join in, and in the process learned that the group was about to lose one of its viola players.  At 93, she’s decided she just can’t keep up any more.   Her departure is a blow, since viola players are traditionally in short supply. Continue reading →

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