Get this from a library! Hora staccato for violin and piano. [Grigoraș 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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Thanks for you very kind comments. I am not a professional violinst, maybe for the lack of technique, but mostly because it can be a very difficult life. The idea of teaching is wonderful but find myself in the “coaching” realm. I have been critical of methods by those following a mentor too closely and blindly to the detriment of their students and music. And have seen this for years. Having been a vocal critique caused some understandable backlash. Resisting a public voice has been easy because so many offer great information.
I’ve lurked for years here and have enjoyed the information, jousts and the expertise the apparent friendships. But recently, it made sense to add information perhaps from a single player’s POV.
I don’t need to add that many hoa makers produce fantastic instruments. I’m hoping that whatever i contribute offers some insight into producing better set ups and playability for players.
With players, i try to develop an understanding of how to approach a modern instrument, as it will make them better players.
There now needs to be a difference, in most cases, and it usually develops into something workable with a better understanding of precision playing, critical listening and understanding what our bodies are doing. With kids who don’t even have their driver’s licenses, race car analogies are rather abstract though they want believe that they KNOW. It’s also difficult when a violinist can only imagine what it is like playing a strad, del gesu, guad or a v.
I’m hoping to help a little, without too much backlash, so remain anonymous. As for only being to play the upbow licks in fast-mode, staaccato fine. Playing anything is great on this particularly hell-ish piece and slowness will develop with confidence and relaxation.
Jascha Heifetz – Hora staccato (Take 1) [Arr. for Violin & Piano] – KKBOX
As for the string crossing, it depends on when or where, but please visualize it this way: It’s often only about 4cm lift at the elbow, but isn’t it difficult? If one is super-tight, then the motion should be timed to happen at once. But if one can isolate the tension, the bow arm can move more slowly. The slowness also helps in developing better control when there is tension.
The upbow movements are fast, but the string crossing is slower. 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. If at all possible, imagine instead an assistant lifting the arm for you with a gentle lift of a hand or with a string wrapped around arm.
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. If the bow is so active, approach the A-string crossing is not so easy. The extra movement doesn’t allow for a clean transition. Let’s look at a musical solution. Where is the string crossing? I can tell you that i fear so many factors, that i resist any string crossing down that descending line.
Trading time for the shift known factor given practice vs the string crossing unknown factor given practicethe shift makes more sense.
The physical reason for this is that syaccato 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 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.
Though your crossing is probably not in this location, please allow for this analysis. One is the tonal color change and also the “slower” reaction of the thicker A-string.
Many younger kids play this piece as an encore, with the normal up-down free-bowing, and stay in position up high, but they can’t be heard in the lower half of the octave.
But i’ve heard some incredibly fast renditions of the piece! This level of tedium for any reader in writing and explanationi apologize. Certainly on other blog sites, there is a high probability of being shot down by an aspiring, very-talented youth. There are certainly very patient, very diplomatic answers provided by quite a few excellent teachers. Remaining anonymous, at least for now, is sincerely the easiest at this point.
So what’s all the concern about showing off? Isn’t that the job of virtuosi? To get people to come to concerts and buy records by providing a ‘wow’ factor.
Devirra Music. Hora Staccato Violin/Piano
I certainly enjoy watching them show off, in the same way I enjoy watching other types of performers acrobats, jugglers, professional football players do things that I can only dream of doing. I find it entertaining, motivating. Pieces like this are geared toward entertaining via showing off. Even the most musical of sonatas and concertos still involve showing off, playing a solo involves showing off.
I’m not saying you have to be Heifetz or Perlman, but if you don’t feel there is anything special about your rendition, then why are you doing it and why should I listen? Actually Heifetz had a really hard time with it; someone like Rabin is much more natural at it, perhaps because of his fast-twitch muscle, something I notice in his glissandi also.
I think some players use the stiff arm method, such as Heifetz. Although it looks smooth, if you were to roll up his sleeve you would see a tensed forearm. 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. In his arrangement, Heifetz says it can be played spicc.
I think it sounds better Spiccato, and that is how the Rumanian gypsy players like Dinicu played it. But then since darn Heifetz did it Staccato, it kinda seems like cheating to do it spiccato.
Unless you’re David Garrett, perhaps. Hi,my name is Carmen Piculeata and i,m gypsy violinist from Romania. We apreciate al at the version of Heifetz but If you need some info dont hesitate to write me at: I agree with you at multiple levels, because it certainly can be great fun. Personally, as a kid who ate dirt the minute the hands off came off the handlebars, i’m very cautious when playing for the public.
There is tremendous joy in seeing these master’s DO what they do. Pyrotechnics are an added bonus. But there are players like Stern, who have made music specifically for the performance, that night. It’s that player, playing specifically to you, for you. And it’s the best of what the composer might have intended for that night, with that instrument, in that particular hall. Worth-Dallas Metro has beautiful halls and homes where one can here so many very fine cellists.
And i don’t want to contradict what your comments, but truly, many of these players aren’t showing off. They might be, at times, dramatic, but believe that those performances are authentic.
Hora Staccato Violin Heifetz Violin/Piano
The authentic performance is not one that is specifically designed to delight the audience. As a violinist, the approach might have to be different, in that there is a snooze factor.
People occasionally fall asleep, mouths agape. We are battling for people’s attention. And frankly, many performances are not well crafted and lacking in curiosity. Show pieces don’t necessary fall into this catagory, but we know when it’s a disappointment. I’m not stunned when people tell me how great Perlman’s encore was. But staccaro many violin recitals, the audience can’t wait for the stale cookies.
But sitting there in at a cello recital, people may fall “asleep,” but with a broad, knowing smile. They are infact, listening, in that most comfortable of places of warmth and twilight, between work and a hot bath, and between a stress and a Martini. Showing off is wonderful and a joy, but something “authentic” can be an experience. We are really splitting hairs – it is just horx game of semantics. I enjoy your posts by the way Even in an ‘authentic’peformance – and boy is there a discussion to have there on the meaning of that, the motivation of the performer is to play for others, to share, and in that sense to ‘show off”.
Not neccessarily in a narcissistic or ‘in your face’ sort of way. But it takes great motivation to pursue and carry out a solo career, or to even be viooin active solo performer, despite how humble or truly genuinely nice they are such as Yo Yo Ma they do thrive on the feedback. Good ministers and preachers are the same way. They genuinely want to help their congregation connect with their spiritual beliefs and feed their souls, but research shows that they are performers, they ‘show off’ their gift with language and logic and thrive off the feedback and adulation they receive.
This is not a negative thing unless is it uncontrolled or abused which in the latter example it certainly is very frequently. In the DFW metroplex the audiences have still not learned how to get an encore – especially in Fort Worth. They let artist after artist come through here and will not provide that one last curtain call to secure an encore – the frosting on the cake of having such artists on stage, and after a meaningful performance there’s no harm in asking them to juggle a little bitand it seems the more depth of the performance and the music, the shorter the applause lasts.
Sarah Chang came and played an epic performace of the Brahms and only got one curtain call and barely at that. It is very frustrating.
Hardly an artist gets out of Carnegie without at least one encore. Back to the topic at hand. I read these tips with great interest as up and down bow staccato is one of the techiques that I had never mastered and as viola major, it wasn’t really emphasized. So I experimented with it last night on my violin.
Reading these comments and descriptions seemed to help, I think that I may just get it.