Perlman Plays Tchaikovsky

Listen to this amazing performance of the final movement of the Tchaikovsky Violin Concerto played by Itzhak Perlman.  You probably know Tchaikovsky as a Romantic composer of lush, fiery, emotionally charged music, but don’t forget that he was also a ballet composer.  You may notice a grace and elegance in the rhythm that suggests dance.

After you listen, consider what makes Perlman’s performance so exciting.  The piece is a tight rope walk but Perlman is always in control.  Notice his sense of timing and the precision of his rhythm.  The music never rushes.  Also pay attention to his highly expressive and often roaring tone.  Does this expand your perspective on what type of tone is “beautiful”?  Do you hear tone colors that you didn’t know the violin could produce?

Notice how the orchestra interacts with the solo, sometimes supporting and other times conversing.  Pay attention to each instrument’s unique personality and color.  For instance in the interlude at 5:54 notice how the melody is passed back and forth between the oboe and clarinet and then the flute and bassoon. Each voice brings a unique color.

You can find a live recording of this performance with Perlman, Zubin Mehta and the Israel Philharmonic at iTunes or Amazon.

Now that you’ve enjoyed the clip, you may want to hear Perlman perform the First and Second Movements of the concerto.  Perlman has some interesting things to say about the Tchaikovsky concerto here.

The Mental Side of Violin Playing

[quote]Technique is conception.[/quote]

-Zvi Zeitlin

As we begin a new year of practicing, let’s consider the mental side of violin playing.  The concepts we hold in mind can be an important guide for sound, phrasing, musical style and other aspects of playing.  Technique should always serve the musical concept.  In many cases, starting with a musical concept can propel us over a technical hurdle.

Think about your last practice session.  Did you focus mainly on the technical issues of the bow and the left hand?  Did a difficult passage remain illusive, even after many repetitions and problem solving attempts?  Put the violin down and hear the sound you want to create in your mind.  Imagine the physical feeling of playing well.  Think of a few words or images that capture the character of the music.  See if the power of your concept makes the bow and fingers automatically fall into place.

For the youngest Suzuki student words like “soft”, “squishy” and “springy” immediately create a good mental image for the bow hold. For the left hand, “spaghetti fingers” and “holding an imaginary ball” are good images. Hearing the string ring “like a bell” and using syllables like “Tuck-a-Tuck-a Tuck-a” and “Toh, Toh, Toh” can help build a mental image of tone production.

The opening phrase of Dvorak’s Humoresque in Suzuki Violin Book 3 provides a specific example of the way concept can improve technical control.  Challenges in this phrase include the “snapped” rhythm (cheating the rest can accidentally turn the rhythm into a triplet) and “zig-zag” bowing which can lead to an undesirably heavy sound.  A word like “sneaky” might help with the rhythm, while playing the last note before each rest “like a feather” could guide the wrist and bow hand to lighten up the sound.

Violinist and teacher Simon Fischer has written an interesting article about Mental Rehearsal which highlights the importance of visualization in violin playing.  Visualization is also central to the work of Don Greene and others who help professional musicians overcome performance anxiety.

Another important component of mental practicing involves attending concerts, listening to recordings and studying the score. If you’re learning a concerto it’s essential that you know the orchestra part as well as the solo part and how the two interact.

As you practice in the new year, remember that it’s important to use time efficiently.  Make a commitment to thoughtful practice and allow musical concepts to be your guide.