today! recital program again

to nyc tumblrbots:

CULTUREfix gallery, on the LES

9 Clinton St. NY

7:30 pm 

Free!

Music of:

Gershwin (arr. Heifetz)

William Grant Still

Coleridge-Taylor Perkinson

Beethoven

I have a new blog, just for violin! Follow if you dare... »

…please?

:)

schubertiade:

vihu:

Hilary Hahn plays Ernst’ s Grand Caprice on Schubert’s Der Erlkönig, Op. 26

I like the comment, “It’s easy to play, if you have 40 fingers.”

This is a piece I would like to learn! Someday…

oh, dear.

I don’t normally enjoy trolling YouTube for violin vids, but this, THIS is just incredible. This piece is so fucking crazy. She’s brilliant. The clarity, control. One of the best things I have ever, and probably will ever, see. I have been in love with this vid for a long, long time. I don’t think that will ever change. Yes Hilary, yes!

new audio clip on my site »

THANKS MIKE FENTON!!!!!

Kodaly String Trio

Alex Kramer, cello

Carl St. Jacques, viola

May 2010

fun? 

velvetant asks: ‘do you ever think about whether being so pretty helps you get gigs or not?’

Velvetant, who I’m sure meant no harm by this question (and thanks for the compliment) fails to realize that this is, in fact, an offensive question. I’m more than positive that my playing speaks for itself. I know this because:

1. I’m fairly intense in a gigging situation, and this has actually caused some friction with conductors who are unprepared for it. I’m pretty sure this takes attention away from my looks.
2. There are some very attractive, very bad-ass musicians where I’m from, so unless you’re counting my large hair, it’s not like I stick out so much that it gets me a gig.
3. You don’t get Broadway gigs by being pretty. You get them because you get one chance to not suck ass, you take that chance, and you deliver. You don’t fuck up, and I usually end up playing better for them than for any other gig I take, mostly because besides how well they pay, the networking opportunities, if taken seriously, are endless. I can play, and that should be enough.
4. In a country where not even the president can escape being undeservedly questioned as to his citizenship, let alone capability at doing his job, the idea that being black in an industry in which one is completely the minority is something that isn’t an issue is unrealistic and ridiculous. I always, always have to be 200% prepared for any gigging situation; people are almost always surprised that I’m capable, no less, good at my job. My father explained this to me from the time I started playing, and it is the one thing about this crazy career that remains, unfortunately, consistent. I am hoping that the NY scene will prove to be somewhat of a relief in this regard, but I by no means have any high expectations. Not negative, just realistic.
5. My undergraduate teacher was a teaching genius, and took no shit from anyone. Colleagues who shared the learning experience under this man have booked gigs based on this fact alone, and with good reason. As Violinplayah will tell you, because she has experienced this as well, we have been able to identify fellow former students of Kevin Lawrence from a sea of strangers, on sheer quality of sound, and level of bow technique; these things are essential to being successful in any performance situation, and set other violinists, conservatory-bred or not, apart.
6. Finally, I like looking good. I have found that overall image does indeed affect overall perception of the player, not so much the idea of ‘being pretty.’ Having the decency not to wear sweats to rehearsal projects a far more confident image to colleagues and administration, and I have learned that this counts for far more than people think. Someone is always watching, and always taking notes. It pays to both acknowledge this, and not forget it.

Overall, it’s good that someone asked this. Regardless of how rude, I think that most people don’t know or think about these things, regardless of how intelligent or enlightened. Any other questions?

my website :) »

It’s temporary, but it’ll do. I like it.

the latest.

So I’m playing this show, Next To Normal, this week. It is AMAZING, and as well it should be, since it won three Tonys and a Pulitzer. Alice Ripley is a firecracker, to say the least, though she gets pitchy everywhere. The set-up, though, is my favorite part of the entire thing. It looks like a disco dollhouse, and we’re actually part of the set! The director, Michael Greif, also directed Rent, which won a Pulitzer as well. Apparently, one of his signatures is to treat the musicians like characters, as part of the set, visible to the audience. This is a mixed blessing, though the negatives are minimal at best. This is the hardest show I’ve played thus far, not technically, but logistically. The conductor is conducting from the keyboard, in a ‘room’ across the stage, the drummer and bassist are on the ‘floor’ above us, and the guitarist is on the ‘floor’ above us, on the other side of the stage, directly above the keyboardist/conductor. We’re wearing headphones and listening for preps from the keyboardist, while trying to maneuver microphones on our instruments and in our faces. Thank god there’s no click track on top of everything. The plus side is that you can see almost everything, the actors acknowledge and appreciate what we’re doing, the actors interact with us at various points during the show, and it’s just so damn cool. Expect your dashes to be N2N-bombed for a hot minute. It’s been an amazing experience, and a fitting goodbye to the city where I was born and raised. Moving to nyc next week.

E. Ysaÿe | Sonata No. 5 in G Major | “L’Aurore”
Augustin Hadelich, violin

just incredible