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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This level of tedium for any reader in writing and vio,ini apologize. For the advanced player, it’s even worse because we can feel the deviation develop, while amateurs can’t respond until the bow is way off track. Hi,my name is Carmen Piculeata and i,m gypsy violinist from Romania. Please enable JavaScript in your browser to use the site fully. L’ Art de la Flute de Pan [].

Heifetz-Dinicu:Hora Staccato(violin & piano) : Thomas Metzler Violin…

That piece, one of a handful of musical truffles staccwto virtually every concert violinist’s encore list, is the delightful Hora Staccato for violin and piano. Jazz Latin New Age.

Register a new account. These places “nurture” the player to express themselves more freely, resulting often in great benefits. The physical reason for this is that the extra effort of the shift left hand violn coincide with a slight change in pressure of the right arm resulting in that “clarity,” which might also sound like an accent or a slight elongation of the sound, to a careful listener.


That elongation is really necessary for me to sync up with any accompaniment. Sometimes this sort of approach becomes more of a flying spiccato and goes a bit off the string, more than an actual “staccato” which supposedly doesn’t leave the string but rather starts and stops.

I think some players use the stiff arm method, such as Heifetz. And it’s the best of what the composer might have intended for that night, with that instrument, in that particular hall. I had success using my wrist rather than the stiff arm technique ala Heifetz, but that is reasonable as I use a Galamian grip staccago than a Russian grip technique.

But at many violin recitals, the audience can’t wait for the stale cookies. A Dream For Two. Back to the topic at hand. So much so that there was a collective hesitation from the audience disrupting the event with any applause.

The Expressive Voice of the Flute. In the DFW metroplex the audiences have still not learned how to get an encore – especially in Fort Worth. I can run hoa 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.


Hora Staccato Violin Heifetz Violin/Piano

Genre Chamber Music Classical. Also in visualizing the string crossing, if it is a single string crossing, try not to think of “lifting” the arm even though it’s what we do. The subtle lesson for me was that the contact be made was the solution, and not that the finger be left on the stick.

We are battling for people’s attention. Steverino brought up the concept of “fast-twitch” and it might be worked into practice, until confidence is established. Wanted to add few things about the upbows and bowing in general.

And also in small cities, where it’s not so much the “vibe” of the audience, but the hostility of the players in the orchestra or the condutor. I Like the Violin!: The Art of Johnny Cowell. Baiorin, I am fully aware of all the points you bring up. Jascha Heifetz Collection Volume 1. Three Centuries of the Greatest Hits. The freedom in the hand, as it turned out, was completely necessary.

The consequence was that the sound would not become “sweet” vlolin the edge of the bowhair but remain bold and more powerful. I don’t need to add that many living makers produce fantastic instruments.