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  • Elizabeth Wallfisch - AS DIRECTOR
    Apollo s Fire the Hanover Band L Orfeo Barockorchester the Australian Brandenburg Orchestra and Philharmonia Baroque Carmel Bach Festival Orchestra Concerto d Amsterdam Brandywine Baroque Raglan Baroque Musica Angelica Pacific Baroque Orchestra More and more the world of modern Chamber Orchestras are demanding an in depth look at the Concepts of Style in their playing of the music of the 17th and 18th centuries leading to many invitations to direct It is a privilege to direct such fine orchestras as the Saint Paul Chamber Orchestra Israel Chamber Orchestra the Vancouver Symphony the Herford Symphony Orche stra Leipzig Chamber Orchestra Stuttgarter Kammerorkester Vasteras Sinfonietta Australian Chamber Orchestra Elizabeth Wallfisch s long and impressive discography offers a window onto her expansive musical world From the High Baroque Italian violinist composers such as Vivaldi Corelli Veracini Tartini Geminiani and the Classical and Romantic greats from Mozart to Mendelssohn She has explored the music of Paganini and Viotti and has recorded much of the music of the great Baroque tradition from the earliest Italian violin music of Cima to Biber Telemann Bach and the rich sensual music of the French Baroque Always keen to nurture young talent Elizabeth has recently formed the Wallfisch Band a unique international period instrument orchestra in which highly talented younger players either still studying or on the threshold of their careers play alongside Elizabeth and her seasoned colleagues all players at the very top of the profession The experience is a living masterclass within an intensive rehearsal and concert environment The combination of youthful energy and musical experience results in performances of the greatest vigour intensity and passion The ensemble made its debut in the 2008 Lufthansa Festival of Baroque Music and has performed and will continue to perform in the UK Germany New Zealand and Austrailia in the

    Original URL path: http://www.elizabethwallfisch.com/page10.htm (2016-02-14)
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  • Elizabeth Wallfisch - GALLERY
    JOHANN SEBASTIAN BACH AS DIRECTOR GALLERY PRESS BOOKS ARTICLES GENERAL CONTACT FORM Yes a photograph is a window into a moment CONCERT VIOLINIST PERSONAL TRAINER TEACHER CD RELEASES FORTHCOMING PLANS ENGAGEMENTS THE BEETHOVEN SONATAS OBERLIN FORTEPIANO TRIO JOHANN SEBASTIAN BACH

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  • Elizabeth Wallfisch - PRESS
    supermarket perhaps While waiting on the phone His introductory remarks were light hearted but this done to death set of four violin concerti poses a considerable challenge How do you bring something new to music so familiar that it s become a kind of aural wallpaper The answer was obvious a few minutes into the Spring portion of the piece You engage an exuberantly personable technically stunning soloist You dig into Vivaldi s raw edged dissonances and emphatic rhythms Biber Rosary Sonatas intelligent stylish and expressive wide expressive range of playing she performs with customary intelligence commitment and virtuosity gripping consistently enthralling Wallfisch showed herself to be a truly great soloist tremendously poised absolutely in tune sparkling with musicality in the virtuoso passagework and shading the melodic lines with incredible colors Donau Kurier Våsterås Sinfonietta Vestmenlans Låns Tidning November 23 2013 Virtuoso violin queen Elizabeth Wallfisch fullfilled all the expectations With Viotti s Violin concerto no 22 Elizabeth Wallfisch consolidated her title as violin queen when she made her fourth appearance with Västerås Sinfoniettan yesterday After a cancellation last spring she came back with even higher expectations on her That she fullfilled them the public showed with standing ovations In everything she played yesterday she intimated a deep violin feeling which shone over the Sinfonietta as well as the public Through Spohr s galant Ouverture in a whirling tempo she took herself to Schubert s Rondo for violin and string orchestra where she played the complicated passages as clearly as the playful melody Here the intimacy of chamber music arises in all its brilliance Reichas Ouverture she managed with fine ensemble playing in spite of all her jokes about the tricky rhythms In Viotti the solo parts showed the technical tools of the violin together with brilliant virtuosity as well

    Original URL path: http://www.elizabethwallfisch.com/page12.htm (2016-02-14)
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  • Elizabeth Wallfisch - BOOKS/ARTICLES
    dare It may also help to hold the violin slightly higher than horizontal as you balance the fiddle Come back to normal 4th position left hand Balance fiddle then back to normal repeat this swing often it gets easier Thumb back Thumb up to normal the windscreen wiper Right hand up etc Repeat the above often THROUGHOUT ALL THE EXERCISES SOFT KNEES SOFT SHOULDERS FREE HEAD WALK AROUND THE ROOM SHUT EYES WATCH TV THERE IS NO NEED TO WATCH THE LEFT HAND INTENTLY AS THIS CREATES TENSION IN THE NECK AND SHOULDER D Violin up Left hand to first position Right hand down Left hand to 4th position Thumb back SQUEEZE neck between thumb and first finger just above base joint Thumb to normal Thumb back THEN still squeezing gently Bring wrist away from body of fiddle the movement will be led by the wrist The left wrist is the lead role in the movement backwards thereby freeing the whole hand from the neck of the fiddle Draw left hand back to roughly first position using thumb as your anchor your first finger as the moving part the base joint squeezed against the neck of fiddle It helps to raise the fiddle a little above the horizontal for this movement When back to roughly the first position put one left hand finger down any one will do bring thumb back to join the rest of the hand Thumb where comfortable This will be different for everyone To start with take your time to get comfortable Up to 4th position Thumb back Squeeze 1 st finger above base joint then down Thumb to join hand wait for it Up thumb back squeeze wrist back down thumb join Up thumb back squeeze wrist back down thumb join Up thumb back down Up thumb back down DONE IT This is a pivotal moment in your playing life Repeat for the rest of your life every warm up All of the above will become second nature and you will be able to shorten it all to a few quick movements automatically Moving on E Violin up Left hand to first position Right hand down Left hand to fourth position Thumb back Stop a note with second finger no bow yet on the A or D string to begin with the E and G are more difficult Slide down to first position using thumb and second finger gently squeezing the neck as you move The base joint of the 1 st finger is far better away from the neck as you move TIP It helps to form something like a circle oval between finger tip and thumb for the move I love to feel the friction between the fingertip and the string F As E Use each finger of the left hand in turn until it feels easy and you start to gain fluency SUMMARY THE SUPPORTERS of the Violin THUMB COLLAR BONE FLESH ABOVE THE BASE JOINT OF THE 1 ST FINGER THE FINGERTIP OF 1 ST OR ANY OTHER FINGER THERE MUST ALWAYS BE THREE POINTS OF CONTACT WITH THE VIOLIN DO NOT EVER ATTEMPT TO USE BALANCE AS THE SUPPORT it doesn t work This is one of the chief reasons violinists give up their attempts to play chin off TIP as above a reminder It is very important never to practise in bad habits When discomfort or imbalance of any kind happens stop Go back to the very basics even if it is every couple of minutes and start again Work through Part the first a couple three four times There will come a time very quickly when you can go immediately to violin up comfortably on collar bone and then UP THUMB BACK DOWN A note written by Peter Wallfisch 1924 199 to his grandson Benjamin 1979 What is technique It is the ability and art to be able to programme your actions at will Always treat the instrument as if it were priceless drawing the sound out In my opinion the best purpose of so called technical work is to stimulate friendly sensations in the various muscles joints tendons etc to transmit the kind of pleasant messages to the brain that the ear and eye do constantly A COMFORTABLE felling when performing means that you have managed to establish this state of affairs Harmony all round You will find to your key after a time that your playing parts will be as receptive thence as dependable as your ears are Dependable because a corner of your brain will RECOGNISE the PHYSICAL FEELING and be able to plan what is correct at the time and what you know you have intended as being good So the best effect these exercises can have is not to drill but to open up all kinds of happy sensations and through regular repetition call them in to being time and time again and finally memorize them so well all by themselves that all your actions have become as assured as sleepwalking so your real concentration can be on emotional feeling and intellectual thinking music and listening to it which after all is the goal of it all You really become the perfect mirror You can talk to me whenever you like I wish you luck and contentment and remember All prescriptions warn DO NOT EXCEED THE STATED DOSE and keep away from children Part the third THE SYSTEM The work really begins now Essential Primary Source Material FRANCESCO GEMINIANI THE ART OF PLAYING ON THE VIOLIN 1751 This book makes very entertaining reading but not at bedtime Please have your wits and your violin about you when you open this wonderful book So that everything you read you will translate immediately into action In this way you will remember it Read Geminiani s commentary for each example many times referring to his corresponding musical examples Efsempio 1 A Please read with the mind of the beginner B Geminiani says The Violin must be refted just below the Collar bone turning the right hand Side of the Violin a little downwards fo that there be no Neceffity of raifing the bow very high when the fourth string is to be ftruck I am not sure at all about below the collar bone where he exactly means But he is absolutely right about the right side of the violin being a little downward C Read Enjoy the beautiful instructions 4a 3a etc denote which string Especially pay attention to the use and expression of the bow as stated in B One of the principal Beauties of the Violin is the fwelling or increafing and foftening the Sound which is done by preffing the Bow upon the Strings with the Fore finger more or lefs In playing all long Notes the Sound fhould be begun foft and gradually fwelled till the Middle and from thence gradually foftened till the End Whole bows with fwells er swells HE IS RIGHT ABOUT THE THUMB NEEDING TO GO BACK AS YOU GAIN THE HIGHER POSITIONS in these exercises Please do not over do this Some players have long thumbs others not Be careful to go with your hand type not beyond The point of this exercise is to learn that the thumb can be another independent digit as the fingers are with its own role to play not just as a support TIP In each position and on each string the left hand must be comfortably over the fingerboard neither too far raised high above nor too close with any feeling of cramping As you go from G string to E string the left elbow may gently move outwards back under the violin NOTE All these exercise must be practised both up and back which means reading them backwards The commas at the ends of the bars indicate the reversal GEMINIANI The fingering indeed requires an earneft Application and therefore it would be moft prudent to undertake it without the Ufe of the Bow A Tricky point to watch If you have been used to preparing your thumb under the neck of the violin for all your shifts UPWARDS it may be confusing at this stage with your chin off to move up the violin It is better to just simply move upwards the hand all of a piece taking as little notice of the thumb as possible certainly NOT preparing it for the upward shift by bringing it under the neck of the violin in advance of the shift The hand becomes confused in the chin off technique and loses it way if the thumb is moved up in advance of the hand Then on the note before descending pause prepare put the thumb back deliberately D NOTE ESSENTIAL FOR ALL EFSEMPII And for life FOR EACH DOWNWARD SHIFT PREPARE THE THUMB AT THE NOTE or 2 3 4 BEFORE THE SHIFT i e Move the thumb back and partly under the neck of the violin Then gently squeezing the violin between the base of the first finger if you are shifting on an open string OR the finger stopping the note and the thumb creating the counter pressure anchor Shift Down Tips To start with change the bow whenever you change the string Also remember it is very helpful to make a little fwell with the bow on every change of position Note this may mean one two or three fwells per bow stroke TO SWELL OR NOT TO SWELL That is a question WHY do it LEOPOLD MOZART A TREATISE ON THE FUNDAMENTAL PRINCIPALS OF VIOLIN PLAYING Translated by Edith Knocker Chapter V 3 Every tone even the strongest attack has a small even if barely audible softness at the beginning of the stroke for it would otherwise be no tone but only an unpleasant and unintelligible noise This same softness must be heard also at the end of each stroke Hence one must know how to divide the bow into weakness and strength and therefore how by means of pressure and relaxation to produce the notes beautifully and touchingly Some other answers 1 To support the shift 2 To use the bow to help stabilise the instrument when shifting 3 To use the expression intrinsic to the expression of the period when chin off in violin playing playing was the norm fashion Another book Up thumb back down Remember to play each exercise both up and down i e reading forwards and backwards I have also practised these exercises disregarding the commas and going all the way up and then all the way down again very challenging indeed A QUESTION OFTEN ASKED What is the best position for my thumb in the first position Answer Whatever is comfortable and free It may poke up the side of the neck the neck resting in the crook of the hand Your thumb may be too short for this however and may be simply lying on the side of the neck or in fact ANY STAGE in between these two However a pinched closed hand is not desirable under any circumstances Start E Geminiani gives us great challenges here With a little patience and practice this efsempio can be mastered Tips As before bow change with string change and fwells with position changes forwards and backwards IMPORTANT These are very big shifts simply to gain mastery You will hardly ever encounter such fingerings in real life Remember to take the time and make the effort to bring the thumb back on the note prior to the shift and then to make your move This will become second nature after a very short time This will speed up You will eventually not even think about it Efsempio ii As before Read commentary Up thumb back down I do like to vary the bowing here Start with 2 slurred up and down note values in 1a i e quarter notes half notes denote semitones not the rhythm Then 3 slurred up and down 4 then 6 then 8 then the whole thing in one bow Start to gain speed ATTENTION Swells to the middle of each slur not each shift here Point The bow is an essential stabiliser not only the source of our expression Use some force on the bow hair against the string without drawing a sound At times this can really aid the shifting Efsempii iii iv v vi iii Diatonic scales simply Each one has alternative fingerings at the top of the scales so it is worth working up and of course down with each of those fingerings the 1 s and 1 2s under the notes denote tones and semitones iv Up and back v Up and back also using the alternative fingerings shown vi Up and back Efsempio vii And now for something completely different Here you are challenged not only in the areas of intonation position changing but in the use misuse of your bow It is all those string crossings that create the challenges GO ALL THE WAY BACK TO BEGINNING OF HOLDING THE VIOLIN up thumb back down several times Begin this efsempio using separate bows in the middle of the bow very easy no intensity gently Repeat two slurred Again four slurred then eight slurred then sixteen gaining speed and expression on the way Forget not the fwells Do each of the sections in this way BEWARE You may find that the string crossing in numbers 5a 6a 7a and 8a etc will slow you down as you add notes under slurs and increase speed NO WORRIES Allow it to be slower as you maintain control at all times Maybe do some mixed rhythms with and without slurs AND some slurring across the beats to increase fluency Efsempii viii ix xiii are not concerned principally with position changing as this tiny treatise is so I am not including commentary here BUT when there are changes use your skills decide your fingerings and then work on fluency and ease of movement Do not revert to old habits at any price Efsempii x xi xii xiv These exercises can all be practised with the specific view to improving your position changing ATTENTION METRONOME I use it all the time Metronome that taskmaster of an invention can become your best friend For those who are not accustomed to using a metronome Start by using the metronome at a slow speed gradually increasing as you become more fluent with the position changes A TIP I like to take the speed up gradually until it is JUST too fast only just though mind you to be able to play the whole thing in one go I e You can manage a couple of bars and then stumble Then leave it Next time you will find that your fluency has increased as if by magic THE RESULTS OF THIS KIND OF PRACTICE ARE ASTOUNDING Part the Third There is More SCALES Yes that is what I said s Please forgive me if I sound patronising We need them on the Baroque violin too The mastery of scale practice is one of the cornerstones of a violinist s technique Chin on or off We need them more than ever now 1 Let s get organised The key circle cycle of fifths is our friend here Start with C Major then a minor down a third to F Major d min Bb g Eb c Ab f Db bb F d B g E c A f D b G e and here we are back at the beginning 2 Fingering The easiest to understand and the best for me in this area are Carl Flesch and his Scale System and Sevcik op 1 no 3 For the purposes of this technique start with the 3 octave scales NOT the scales on one string They can come later His system of fingerings for all keys is clear logical and beautifully set out for the person with the L plates on Melodic and harmonic minor scales plus arpeggios dominant and diminished 7ths are also on the menu Double stops are the dessert HOWEVER be warned You are now adept fluent even at playing chin off So Pay attention to the minutest detail of every shift DO THEM RIGHT EACH ONE Take the time to make sure you are confident enough to move on to this advanced level incorporating your new skills in your scale practice NO COMPROMISE BOWING You must be vigilant and imaginative in your use of the bow and your choices of bowings with which to practise your scales I would recommend that you do as you were on the Geminiani I e Separate bows then 2 slurred 3 slurred 4 6 8 9 12 24 etc Changing the rhythms is very helpful in developing speed and lightness Each bow stroke having a lovely fwell POINT Please stay within the expressions demanded by the concepts of style that are intrinsic in this new learning i e Performing 17 18th century music even if you are using the exercises of the much later periods no martelé please TROUBLE SHOOTING in no particular order a Holding on to old postural habits Do not underestimate the strangeness of this technique at first I find it is very important never to hurry from step to step It helps to act as if you have never played the violin before imagine you are a beginner Don t forget that when you are attempting this new skill the instrument you are learning to play becomes new to you Your new skills all become natural in a surprisingly short time b Fear of dropping And therefore holding on for dear life as if an abyss is open beneath CALMLY Go back to the very beginning Check the violin is as if in a nest see d See page four of this little book and go over all the details of your position at every

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  • Elizabeth Wallfisch - GENERAL CONTACT FORM
    PRESS BOOKS ARTICLES GENERAL CONTACT FORM Please complete this form to send me an email Name Name Email Email Message Message Enter the code below in here CONCERT VIOLINIST PERSONAL TRAINER TEACHER CD RELEASES FORTHCOMING PLANS ENGAGEMENTS THE BEETHOVEN SONATAS

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  • MP3 Jukebox

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