So, yesterday I had a conversation with a conductor having just finished rehearsing Beethoven’s 3^rd piano concerto in which we tried in vain to think of a piece that Ludwig wrote in either e-flat major or c minor that wasn’t great. We could not think of one. That got me thinking, are there any works by any composer with three flats in the key signature that are not masterpieces?

Beethoven’s innate talent for c minor is well known as his fifth symphony, forth string quartet, third piano concerto, op. 9 #3 string trio, and many others can attest. But on closer inspection his e-flat works also stand out; see the Eroica Symphony, “Harp” quartet, op. 127 quartet, “Emperor” piano concerto, and Septet.

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It’s time for another one of my preachy articles on practicing.

Learning to play a stringed instrument is hard. Playing a stringed instrument at a high level is extremely hard. Performing regularly at an elite level (earning a good living) is monumentally difficult, and only a tiny percentage of musicians can honestly say they have accomplished this.

The following is not intended for total beginners (although the principles of good practicing will always garner results), but rather these tips will help any student improve from an average player to a good one, or better. There are “dos” and “don’ts” within every aspect of life, and practicing a stringed instrument is no different. (more…)

With the Thanksgiving holiday having just past and the Christmas and New Year holidays on the way, I thought I would take a moment to list a few of the things that I am thankful for, as well as a few resolutions that I will attempt to fulfill in the coming year (or however long it takes).

In no particular order, I am thankful for:

• Thomastik Vision Solo strings

• Sibelius music notation software (Finale eats it, in my humble opinion) (more…)

How does one spot a famous conductor? The hair.

Look around at the great orchestral conductors throughout the years and you will notice that each has what I call “special” hair. I have categorized this special hair into three groups.

The first would be the “perfect” conductor hair.

There have been many over the years, but this group is headlined by the late Leonard Bernstein and Herbert von Karajan. Perfect conductor hair (or PCH) is generally long and wavy and although it inevitably turns gray, it remains perfect throughout the maestro’s lifetime. The best part of PCH is the look at the end of a performance. Usually these frocks explode into sweat mangled messes by the end of a symphony. Just look at any youtube video and you can see what I mean. (more…)

Yesterday on the way home from work, I heard the beautiful Romance in f minor by Dvorak played by Itzhak Pearlman. While the piece is gorgeous and the performance competent, I always cringe when I hear this work because I consider it one of my biggest failures as a violinist.

You see, like any other musician, there are some works that “agree” with me and there are some that absolutely positively do not. The reasons for this remain a mystery to me, but the facts are there. In most cases, the works with which I struggle are those that would normally fit my technique and temperament, while some of the works that I play very well have been a surprise, not only to myself but to the teachers with which I studied them. (more…)

Is there one piece (or several) that you have played so many times that, no matter how beautiful or well written it is, you simply can’t appreciate it as good music any longer? Any professional musician will perform certain works several times in his career, some works over and over, but in many cases he still enjoys playing them. If he didn’t, it would be time to hang it up and get a “real” job. There are however, a few works that some musicians simply find excruciating. It is a struggle to even get from the beginning to the end. I’ll give you a few of mine below. (more…)