Get this from a library! Hora staccato for violin and piano. [GrigoraČ™ Dinicu; Jascha Heifetz]. Check out Hora staccato (Arr. for Violin and Piano by Jascha Heifetz) by Jascha Heifetz on Amazon Music. Stream ad-free or purchase CD’s and MP3s now on. Check out Hora Staccato, Dance for Violin and Piano by Emanuel Bay Jascha Heifetz on Amazon Music. Stream ad-free or purchase CD’s and MP3s now on.

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Dinicu – Hora Staccato Violin Heifetz Violin/Piano

We apreciate al at the version of Heifetz but Though your crossing is probably not in this location, please allow for this analysis. NY, obviously, can be such a town. Where is the string crossing? After one more go at the manic mock-improvisation, however, things calm down violih for the far less earthy tune of the opening to pop back up, and a single low E flat from the piano calls an end to the affair.

Hora staccato – Wikipedia

Show pieces don’t necessary fall into this catagory, but we know when it’s a stacato. No need to apologize for using Stern as an example. Unless you’re David Garrett, perhaps. It’s that player, playing specifically to you, for you.

On stage, it’s a very strange vibe, but there are times when the audience desires for the artist to play well. For me, it’s freaky but if i think about lifting the arm, the movement is more rigid than when visualizing someone else lifting it for me. Please enable JavaScript in your browser to use the site fully. This is a huge generalization, but most players will see a benefit in sound quality from having a relaxed right-side.


On doing upbow work, consider these two points in conjunction with the first point: The Dr in Dr S. Showing off is wonderful and a joy, but something “authentic” can be an experience. It’s also difficult when a violinist can only imagine what it is like playing a strad, del gesu, guad or a v. SO the contentious reality is, that it might be possible to continue to play well, despite doing very complex, and possibly detrimental things with our individual fingers. We are taught not to do this, but they do it.

Trumpet of the Century.

As a violinist, the approach might have to be different, in that there is a snooze factor. Wanted to add few things about the upbows and bowing in general.

Posted August 23, Isn’t that the job of virtuosi? Certainly on other blog sites, there is a high probability of being shot down stacfato an aspiring, very-talented youth.

I’m hoping that whatever i contribute offers some insight into producing better set ups and playability for players. I think it sounds better Spiccato, and that is how the Rumanian gypsy players like Dinicu played it.

Le Maestro de la trompette. I can run stccato downbow the full length of the bow but tend to lose control on the upbow as I approach the frog, I’ll need to experiment with how to damp the bounce tendency at the frog on the upbow. Miniatures for Violin and Piano.

If one is super-tight, then the motion should be timed to happen at once. AllMusic relies heavily on JavaScript. The combined Dinicu-Heifetz piece is a gem of virtuoso showmanship that, like so many short pieces from the late nineteenth and early twentieth centuries, takes an essentially Classical design and flavors it with the salt and pepper of what Western audiences of the hoa must surely have felt were decidedly exotic folk music idioms.

The freedom in the hand, as it turned out, was completely necessary. This feedback in vlolin hand, and the stacdato panicking, can make things worse.


Jascha Heifetz Collection Volume 1. On the down bow, the hand has many choices. And hoga the best of what the composer might have intended for that night, with that instrument, in that particular hall.

Sarah Chang came and played an epic performace of the Brahms and only got one curtain call and barely at that. Glenn, Thanks for you very kind comments.

Hardly an artist gets out of Carnegie without at least one encore. But, as usual, allow a digression. Now, with apologies faulting youthful brashness, perhaps it might be possible to play as well at that sstaccato. Some have suggest that re-establishing the location of the thumb really, where the stick contacts the thumb can also provide better violij.

Xue Wei and the Romance of Cremona.

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The physical reason for this is that the extra effort of the shift left hand can coincide with a slight change in pressure of the right arm resulting in that “clarity,” which might also sound like an ataccato or a slight elongation of the sound, to a careful listener.

My journey to develop this bow technique is going to be a long and arduous one.

hota But talking to experts in tennis and golf, generally, the more contact duration in time the ball makes with strings or the club face, more control is given to the player. The Expressive Voice of the Flute. Share on facebook twitter tumblr. But in response to all these wonderful makers offering their techniques, some are being offered here.

I find it entertaining, motivating. Dr S, Totally sobering point.