Climbing Everest, violin-wise…

This month marks the first month that I play Brahms Violin Concerto with orchestra.  I am approaching the dates with many mixed emotions–trepidation, excitement, and everything in between.  After reading about the creation of the piece to what was happening in Brahms’ life at the time, I feel as though I have accumulated a greater knowledge of the background, but still something was missing.  In playing for Midori Goto, she always spoke about channeling life experiences and internal passion through every note–this brings us to a different subject entirely!  How do life experiences affect the performance?  Is someone who experienced tragedy and hardship as a child going to approach the masterworks differently?  Only a pyschologist can answer that.  Channeling experiences from my 21 years is something I have been striving for recently–and it works differently in works such as Brahms and Beethoven versus Bruch and Vieuxtemps.  In working through the concerto with the conductor, I cemented ideas, became more confident in my approach, and it certainly furthered my understanding of how the violin lines fit in with the orchestra.  Comparable to the Beethoven concerto, the Brahms designates the violin as accompanimental for much of the work, and that sense of chamber music and intertwining with the orchestra is exhilarating!

What’s left to do??  Practice!

This month marks the first month that I play Brahms Violin Concerto with orchestra.  I am approaching the dates with many mixed emotions–trepidation, excitement, and everything in between.  After reading about the creation of the piece to what was happening in Brahms’ life at the time, I feel as though I have accumulated a greater knowledge of the background, but still something was missing.  In playing for Midori Goto, she always spoke about channeling life experiences and internal passion through every note–this brings us to a different subject entirely!  How do life experiences affect the performance?  Is someone who experienced tragedy and hardship as a child going to approach the masterworks differently?  Only a pyschologist can answer that.  Channeling experiences from my 21 years is something I have been striving for recently–and it works differently in works such as Brahms and Beethoven versus Bruch and Vieuxtemps.  In working through the concerto with the conductor, I cemented ideas, became more confident in my approach, and it certainly furthered my understanding of how the violin lines fit in with the orchestra.  Comparable to the Beethoven concerto, the Brahms designates the violin as accompanimental for much of the work, and that sense of chamber music and intertwining with the orchestra is exhilarating!

What’s left to do??  Practice!


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