Correct posture can significantly improve your playing, writes Aaron RosandGood standing and sitting positions, and avoiding using a shoulder rest, are all important for optimum performance, says the American violin virtuosoAugust 19, 2014

Have you ever stopped to think that if it looks good it will sound better? Appearance is an important PART of the complete package, and more attention should be given to this integral factor. Whether you play an audition or give a performance, your appearance and deportment has a lot to do with your success. When you look like you know what you are doing, the playing will exude confidence. This may well be the key to succeeding in your endeavor.  For standing position, a good stance may be achieved by bearing in mind that your body weight rests primarily on your left leg. Remember that the violin rests on your left side and is the reason for the principal weight on that side for balance. Do not spread your legs too far apart. Twelve to fourteen inches is enough to give you proper balance. Keep your knees flexed, do not stiffen, and your right leg must be relaxed. When shifting your weight, your right leg may move forward; always return to the normal position with the right leg and do not start walking. Moving around is not a good habit. Think of Jascha Heifetz whose legs were like a tree trunk. Focus all of your movement on your hands and keep your mind solely focused on the music.  For sitting position, keep your back straight. Keep your violin in proper playing position with scroll pointed to the music and not to the brass section. Do not slouch or cross your legs or spread your legs too far apart. Make sure that you have enough space to bow properly and get to the tip staying parallel to the bridge.  How do you hold the violin? This is a question

that I frequently ask and most young players cannot answer. They point to the shoulder rest which is a sorry excuse for holding the violin. Heifetz’s reply to a young student who said that he could not play without one was ‘Take up the cello!’ Yehudi Menuhin in his book states that it should rest on the collar bone. Most of the great players that I have known are in total agreement with this, and not one ever used the shoulder rest. When the violin is on the collar bone, the left shoulder moves slightly under the violin. Your left elbow should move inward and well under the back of the violin. This will put your left-hand fingers in the ideal position for intonation and controlled vibrato. The violin is sometimes held leaning on the fleshy part of the left thumb and at times with chin down for rapid passage work or descending passages from higher positions. There is a constant interplay of these parts and they must always be relaxed. Do not clutch the neck of the violin with your left hand. The thumb must remain FREE to glide easily.  You must remember that the violin is an instrument that must be held. Your shoulders must be bent slightly inward, and in this way the natural weight of your bow will produce a beautiful sound without additional pressure. With a shoulder rest your right arm is more extended. You have to put more pressure on the bow forcing the sound.  More and more violinists of today are obsessed with a big sound and pressing the bow constantly, devoid of attention to dynamics. The nuances, subtleties, and textures are neglected as a result of the position and angle of the violin when a shoulder rest is used.  Always stand straight and keep your head high. Avoid crouching and keep your neck relaxed at all times. Tension in your neck will create problems. Breathe naturally while playing, and do not hold your breath as it will cause grunting and unnecessary sounds while you play. The best solution to improve playing is to remember to be as comfortable as possible at all times.  If you have pain in your arms, neck, or

back, stop what you are doing. Try to analyse what the problem may be and experiment with other positions. Being comfortable will help you achieve more gratification from your work and certainly provide more enjoyment.  Aaron Rosand on how to produce a beautiful toneIn the first of a series of articles on violin technique, the American violinist examines the role of the bow in tone productionDecember 19, 2013How do you produce a beautiful tone? It is a question frequently asked. The simple answer is: with the bow. There is no sound until the bow touches the strings. Several factors are involved and coordinated in order to achieve the desired tone using the bow: grip, finger pressure, bow speed and bow changes.With the grip, the fingers must be close together – not spread apart with the index finger extended. Three fingers draw the sound, with the little finger close but not pressing. The basic grips primarily in use today stem from two schools: the Franco-Belgian (pictured bottom left), epitomised by Eugène Ysaÿe, and the Russian School (bottom right), by Leopold Auer. My great teacher Efrem Zimbalist, who was a pupil of Auer, introduced me to the Russian School. He was an exponent of the long bow and drawing a thick sound on the flatter hair. When playing a work such as the Tchaikovsky Violin Concerto I use the Russian grip because I want a thicker sound. It was Leon Sametini, a pupil of Ysaÿe, who taught me the Franco-Belgian grip that I use for playing works by composers such as Mozart and Bach, and pyrotechnical works. I employ both grips depending on the composer, and the textures and nuances you can achieve will be subtly affected by the grip you use.With both types of grip, one must practise creating the sound that can be made when one draws the bow without exerting pressure on the stick. Most importantly, do not tighten the hair so much

that the bow loses its arc. The bow stick must vibrate to produce its own sound – a good reason why bows by makers such as Peccatte or Tourte are so expensive. The pressure should only come from your hand and fingers, not your arm. The amount of pressure applied must be proportionate to your bow speed – herein lies the secret to creating a quality tone rather than a forced tone. Try using a flat hair on the down bow to get a thicker tone. Draw with the fingers working closely together and the palm facing out. On the up bow, the stick is turned slightly and played at an angle.Remember that all moves are circular at the point and frog. We perform figure of eights at all times. When I was twelve years old I auditioned for Leon Sametini, and after I had played he told me that my left hand was good enough to play anything but my right hand needed work. For six months I had lessons on open strings, drawing the bow from frog to tip. For diversion I was given Handel’s Sonata in D major, but I never got past the first two lines of the first movement. An occasional wrap on the wrist with a yardstick kept my wrist down and flexible so that my fingers could affect seamless bow changes. My best advice would be to spend the first five to ten minutes of your daily practice session drawing bows on an open A string, making sure that between the up and down bows the sound does not break. If you can master this bow technique, your tone will certainly improve.www.rosandmemoirs.com

Violinist Aaron Rosand on why memorisation is key to interpretationIn the latest in his series on violin technique the American maestro discusses the importance of understanding a work's cultural background and performing by memory to convey thisMay 21, 2014

Begin by studying the score with or without the

violin in hand. Sing the line to yourself to better understand how you want to hear it played. We must respect the composer’s intentions, such as markings, dynamics, and notations before applying our PERSONAL ideas. The score is the ‘black and white’ canvas on which the artist, by using fingering and bowing techniques, applies colour and character appropriate for each composer. Vibrato and bowing technique varies depending on the country of origin of the composer and must be tastefully applied.Understanding the cultures and manners of a country will certainly give you a better picture of how to interpret the music. With films and computers to aid us and stimulate our imagination, we can get a better feeling of how to interpret a composer from Germany, Russia, France, etc. Each requires a different bow technique and vibrato variation to express the characteristics of a country. For example, the approach to playing Bach is entirely different to playing music of Tchaikovsky. Bach needs bowing restraint with minimal vibrato and, at times, none at all, whereas Tchaikovsky needs a lush, throbbing vibrato with a more aggressive bowing style to depict Russian characteristics.Be honest with everything on the printed page. When beginning to learn a work, repeat a section many times while keeping your eyes on the page. As soon as you possibly can, close your eyes and play it from memory. Unknowingly, your eyes have already photographed the music. If you lose a note, open your eyes and look again at the page. Repeat the process until you can play it in your sleep.  Memorisation is a process of hearing each note before you play it followed by motor reflex. You cannot fully express yourself in an interpretation if your eyes are riveted on the music. This applies to every composition that you play whether it be a concerto or sonata. Yes, sonatas are for two equal partners. In Beethoven’s case, he notated sonatas as works for piano and violin. I would recommend learning them by memory or list

the pianist’s name first on your next program. Using a music stand may be acceptable in a salon but not on a concert stage. It is distracting to see pages turned in the middle of a performance.Memorisation is the key to interpretation. The music must become a PART of you if you are completely immersed in what you play. Remain focused on expressing what your inner ear wants to hear. Trust your memory and do not become preoccupied with fingerings and technical problems. Repetitive practice will do its part and motor reflex will take over. Concentrate on your bowing. The bow is your paint brush and capable of providing all of the textures and nuances required if sensitively employed. It is also your breathing process and breathes life into every note that you play. Imagine how gratifying it can be when you can control your sound and characterise your music making with the fingers of your right hand. Interpretation and memorisation are within your grasp.  www.rosandmemoirs.com

Aaron Rosand on finding the perfect set of stringsFinding the best strings for your instrument can take years of trial and error. The American violinist reflects on his ongoing journey to discover the perfect setFebruary 7, 2014 No matter what strings I try out, I do not keep them on my violin for more than five to six weeks

I clearly remember an incident from when I was around twelve years old. I performed in a recital at the Chicago Musical College (now the Chicago College of Performing Arts) where I was studying with the remarkable teacher, and student of Ysaÿe, Leon Sametini. At the end of the recital, the mother of a girl also studying with him asked, ‘Why doesn’t my daughter sound like Aaron?’ Sametini whimsically responded, ‘He uses different

strings!’ To which the irate mother replied, ‘So, please, professor, why don’t you instruct my daughter to buy the same ones?’At around the same time I was actually instrumental – albeit inadvertently – in developing the steel string. Frank Sindelar, a very fine violin maker whose shop was within walking distance of my home on the west side of Chicago, took a PERSONAL interest in me after my debut, aged ten, with the Chicago Symphony, and subsequent local appearances. He loaned me a lovely small Gagliano violin, and with this instrument I became involved in regular string experiments.I was selected to be the guinea pig for some new steel strings (in all gauges) produced by the forerunner of the Super-Sensitive Musical Strings Company. I soon learnt how string thickness affects the velocity of response and the quality of sound. The string’s manufacturer was a steelworker and amateur violinist, and he took my youthful advice to make them thinner for a quicker reaction. The strings were very durable and I used them throughout my high school years.When I began studying at the Curtis Institute of Music in Philadelphia with Efrem Zimbalist Sr, the philanthropist Max Adler of Chicago LOANED me a beautiful Giuseppe ‘filius Andreae’ Guarneri violin. It had aluminium and silver wound gut strings for the G and D, a Thomastik A and a steel E. I always found the A string problematic. It was too glassy compared with the gut D and G strings, it required more pressure and, at times, it would squeak. I began to realise that a softer A string was more desirable and would better balance the quartet of sounds, where the G string is the baritone, the D the alto, the A the coloratura or colouring, and the E string the soprano. The theory is especially true in relation to Bach fugues, works that I see as string quartets.Zimbalist encouraged me to try a new gut-core A string with a nylon winding. I was very happy with it, but sadly it was discontinued after two years, and removed from the market. I then switched to an

unwound gut A – something I use to this day. Although I have experimented with strings throughout my career, when performing or touring I have always played on a Pirastro Wondertone E, a gut A string and Pirastro Eudoxa D and G strings.When choosing strings you need to take into consideration the type of instrument you are playing. I acquired the great ‘Kochánski’ Guarneri ‘del Gesù’ in 1957. Gut strings were prevalent in that period and I experimented with various thicknesses on all strings. I concluded that the thinnest gauge responded best for the G, D, and A strings, but that a thicker gauge gave the E string a more brilliant sound.In fact, it wasn’t so long ago that all the great violinists used only gut strings. Heifetz played on open gut A and D strings. His theory was that the E and G became more powerful when the middle strings were subdued, and his glorious recordings certainly testify to this.Milstein, who I knew well, always used gut A strings. He was 90 when I last visited him in London and he asked me to try his favourite Ansaldo Poggi violin. At that time I too owned an instrument by the same maker, from 1928. The gut A string on his violin was of a thicker gauge than I was accustomed to, and when we spoke about it, Milstein insisted that he could never play on anything else. Milstein and I found that our views on the A string coincided. In my view the D and G strings must blend, but the A string cannot be predominant – otherwise it takes away the penetrating brilliance of the E. Milstein agreed, adding that having a gut A put less pressure on the instrument, allowing it to speak more freely.I cannot recall exactly when synthetic-core strings became more widely adopted, but perhaps their acceptance has fuelled today’s obsession of trying to achieve a bigger sound. There are other reasons for this too, however: newly constructed concert halls with poor acoustics, flamboyant conductors demanding louder playing, violinists leaning towards heavier bows and extending the index finger to apply more pressure (which, by the

way, is a faulty concept) and the basic position of holding the violin that has changed with the adoption of the shoulder rest, resulting in the need to extend the right hand and requiring more bow pressure.Interestingly, synthetic string manufacturers primarily produce medium- and thick-gauge strings, owing to the misconception that a thinner string produces a smaller sound. Synthetic strings need more bow pressure, and, from my experience, wear out the bow hair more quickly. On the positive side, synthetic strings do solve the problem of durability in all climates, and hold their pitch far better than their gut counterparts. I began using them in the 1980s, when I was performing extensively in Asia and other regions with humid climates. I used the thinnest-gauge Dominant strings available, labelled ‘Weich’, and they proved to be a most worthwhile substitute for my Pirastro Eudoxas. They responded better than the other synthetic strings available and required far less bow pressure.In the 1990s I sensed that the quality of gut strings was not the same as in previous years when comparing the older strings in my collection with the new ones. As a result, I began to use Dominant strings more regularly, with the exception of a gut A string. For this I used a fine 13¾-gauge one by Damian Dlugolecki, a specialist maker whose strings come plain or coated with his formula for keeping the string from fraying, which gives them longer lives.String selection is a matter of PERSONAL preference, and depends not just on the violin being played, but also on one’s technical level, the colours the violinist wishes to produce with the bow and the gauge required. I look for sensitivity under my fingers, something I can only get with the more pliable gut string. It also makes my left-hand gliding technique more expressive. For me, gut strings offer a warmer quality of sound, especially on the A. They also make the E string even more brilliant. Listen to recordings of the great artists of the past and

notice the warm and personal sound. It’s quite different from that provided by contemporary artists on synthetic strings.There are far more varieties of strings available today than ever before. Very good strings are being produced by manufacturers such as Thomastik-Infeld, D’Addario, Super-Sensitive and Pirastro. I recently tried Pirastro’s newly developed ‘Gold’ set. It is remarkable. It provides power and clarity, and a similar experience to playing on gut. In my humble opinion, the finest gut string available is Pirastro’s Passione, which is a constant companion to all my violins. My other personal favourites are the 16¼-gauge Passione G string and the 13¼ D of the same brand, the Pirastro Chorda 14-gauge A and the Pirastro Gold E string.I am still experimenting with new strings in my quest for perfection, and manufacturers are constantly developing new wonder strings. No matter which ones I try, I do not keep them on my violin for more than five to six weeks – in my experience, they lose their fresh and crisp sound after having been played daily for many hours for that long.Playing softly with less bow pressure can also become interesting. See if the bow skids or grabs the string if you don’t apply any bow pressure. Also, use enough rosin – synthetic strings need more to avoid sliding. When playing rapid passages, try playing lightly and see if the notes are clear.You should choose strings that produce a beautiful sound for your inner ear. Try testing them by playing piano, not forte, so that you achieve a contrasting tone with power and beauty. Elman was once asked what the secret of his big tone was, and in his inimitable accent, he replied: ‘Vot big tone? The violin is not a trumpet. My secret is that I know how to play pianissimo!’Aaron Rosand on how to produce a good vibratoIn the second of a series of articles on

violin technique, the American violinist examines the role of vibrato in enhancing the soundJanuary 16, 2014to describe the manner of vibrating. But this terminology is inconsistent with what actually makes the vibrato. The key lies in the fingers ‘rolling’ on the string and this can only be affected by the hand. The wrist must be flexible at all times and the hand FREE for the vibrato motion. The basic position of holding the violin strongly affects the manner of vibrato and vibrato speed required. Your left elbow must be well under the violin and the left hand fingers held high to give the finger tips the flexibility to rotate. Ideally, the thumb should not protrude above the fingerboard. It should be placed, preferably, on the fleshy portion and positioned slightly behind the index finger. Putting your elbow further under the violin towards the E-String side will speed up your vibrato. It is interesting to note that the use of the shoulder rest will more likely create an arm vibrato as it narrows the chance for the finger tips to rotate fully.Vibrato plays a significant role in determining the individuality of great players. They could be immediately identified by their tone. When I was a student, I used to enjoy having recordings played without knowing who was playing and being able to recognise after a few bars who the artist was. How simple it was to identify the sound of Heifetz, Milstein, Menuhin, Kreisler and other notables by their vibrato. Interesting to note, that none of these artists used a shoulder rest.I must add that vibrato can enhance a sound but excessive vibrato can be cloying and annoying. Vibrato must be used tastefully and varied according to the composer you are playing. Sometimes a minimum use of vibrato is needed and at times none at all. A wider vibrato, for example, can be used for Tchaikovsky and a leaner vibrato can be used for Mozart.I have heard time and time again that teachers are

telling students to vibrate every note. This is treacherous advice because in rapid passage work your hand must be steady and involuntary motion will affect intonation and mar your technique. Please remember that vibrato can be a dangerous weapon if not used wisely!Ten things you need to know about vibratoThe following quotes, taken from the pages of The Strad over the past 100 years, offer a fascinating glimpse of the changing attitudes and approaches towards this most subjective and controversial area of a string player's techniqueJanuary 16, 20141 Vibrato has always been used‘Vibrato is such a natural thing to do, it is hard to imagine it not being used at any time – or in any culture – where people have bowed stringed instruments.’Simon Fischer, The Strad, June 2008 2 Good tone should come before vibrato‘One important reason for developing a full tone before introducing the vibrato technique is that, for the tone to be beautiful, the amplitude of the string’s vibration and the vibrato’s width should match. A small, narrow vibrato can sound lovely when the string’s vibration is also narrow and the tone is soft; however, the same narrow vibrato used with a loud tone produced by wide string vibrations will sound harsh and strident. Equally, a wide vibrato used with a soft tone can sound ridiculous and cause the student to back off from it.’Phyllis Young, The Strad, September 1999 3 Vibrato is of the greatest artistic value‘In contrast to the elementary steady condition of the tone, which is the expression of quieter feelings, representing simplicity, clearness, dignity and solemnity, the vibrato forms a very important, if not indispensable means for rendering the tone more impressive and sensuous.

For the development of tone quality, carrying- and tone-power, it is of the greatest artistic value.’Emil Krall, The Strad, May 1912 4 There are three types of vibrato‘There are three discernible types of vibrato, named according to the PART of the body that performs it: arm, hand (otherwise known as wrist) and finger vibrato, although for Szeryng, “a perfect vibrato [is] a combination of finger, wrist and forearm”.’Rok Klop?i?, The Strad, June 2003 5 Vibrato should always be tasteful‘What I cannot stand, either musically or aesthetically, is the modern habit of beginning a note straight and then starting to wobble in the middle of the note. It seems to have started with the cellists but it has spread to violists and violinists.’Tully Potter, The Strad, October 2009 6 Imitate other instruments when considering your vibrato‘Try to imitate various players based on styles that interest you. Don’t limit yourself by only listening to bowed strings – it’s also useful to listen to trumpet, saxophone and voice. It’s nearly impossible for any of us to make moment-to-moment artistic choices if we haven’t developed a wide listening and skill base.’       Julie Lyonn Lieberman, The Strad, January 2006 7 Vibrato should be considered systematically‘Among the many details in the study of the violin is one which is not considered important enough by many teachers, even great teachers, to demand their proper attention. It is seldom that the vibrato is acknowledged as belonging to the regular violin course of study. It should not be so, for, if the vibrato is used at all, it should be studied carefully and systematically, and as thoroughly as all other points constituting this course of study.’

Arthur Heft, The Strad July 1902 8 Students need help to develop their own vibrato‘In my experience, only one in four students develops a vibrato while working alone. Those who do not should be helped in some way that does not interfere with their personalities.’John Krakenberger, The Strad, April 2000 9 Vibrato should not be constant‘Many musicians argue that vibrato is a “natural” part of good tone production – that a good musician colours what would otherwise be a dull and lifeless tone with a more or less constant, though subtle, vibrato. The liberal sliding and swooping we hear on early 20th century string recordings – which few of us would have the courage or stomach to imitate today – should make us wary of such aesthetic judgements.’Even Johnson, The Strad, June 1994 10 Don’t indulge in vibrato‘How seldom it is that one hears four bars of a violin solo, even by the greatest artists, played without the “vibrato” effect! Every note longer than a quaver is sure to be delivered by a left hand which trembles like jelly on a plate in the hand of a nervous waiter. And this trembling music is not confined to solos; even orchestral players are prone to indulge too much in the vibrato.’The Strolling Player,

Aaron Rosand on finding the correct bowings and fingeringsThere are no short cuts to discovering the fingerings and bowings to suit your hands, writes the American violinist. Practice and more practice is the key.April 2, 2014

Have you ever thought about an edition of music by a great violinist, as having a lesson from a

master? An edition can provide an invaluable learning experience if studied thoughtfully. Bowings can provide indications as to which PART of the bow to use, how much bow to be drawn, bow speed, and attention to dynamic markings. Fingerings can become a personal matter as no hands are alike. The main objective is intonation.Every great player arrives at fingering patterns to facilitate rapid passages or to best express lyric lines. The notated fingerings in an edition may not always suit your hand. You must experiment with changes. This requires slow and patient practice. When making a new fingering, begin slowly to get your hand set, then gradually build up the tempo. When up to speed, repeat 40 to 50 times. If it doesn’t sit well, begin all over again with different fingerings and bowings. Be flexible and play it over and over many times until you are comfortable. The test is in performance, for then you will know if it works well. If not, it’s back to the drawing board.The manner of bowing is most important as this can affect the left hand problem. Try an up bow instead of a down bow. It’s amazing how an up bow in an ascending rapid passage can ease your left hand. Many times reversing the stroke will clarify your fingering patterns.Nathan Milstein, whom I knew well, was continually experimenting with fingerings to achieve effects and to better serve the music. I remember a day when he proudly showed me two clever fingerings in the Brahms Concerto and some other tricks in using open strings to facilitate rapid passagework in a transcription he was preparing. He was an amazing violinist, and he never stopped practising to improve upon his extraordinary skills.Diligent practice to work out bowings and fingerings can be a lot of fun. When you find a solution that works for you, it’s an accomplishment. Most importantly, play by memory. When practising like this, motor reflex takes over and you can play a difficult passage out of context at any time. This is a method I have used successfully throughout my entire career.

Practice, practice, practice!!! I do not know of any short cuts.Violinist Aaron Rosand on improving bow techniqueIn the latest in his series on violin technique the American maestro discusses the art of the bow and the importance of a relaxed right hand to produce a good soundApril 22, 2014

To improve your playing, your principal practice should be confined to the use of the bow in order to achieve complete command in the execution and expression of the music to be played. How you draw the bow will determine the quality of sound that you produce. The control of this rests mainly in the fingers of your right hand, as these are the principal players in the procedure.The way to practice this technique is best on open strings. I spent six months on the A string when studying with Leon Sametini who was a disciple of Eugène Ysaÿe.  At the time I was twelve years old. He would bring tears to my eyes when rapping my wrist with a stick if it was raised, and I did not pronate properly at the point and frog in a figure eight fashion.To begin, set the bow lightly on the string and gently press with fingers, not arm, when drawing to produce a swell by small degrees to its forte. Repeat the process from point to frog on the up bow and continue this until you can master the swell with appropriate bow speed and fine quality of sound. Begin with minutest softness increasing the tone to its loudest degree and diminishing it to the same point of softness with which you began in the same stroke of the bow. Every degree of pressure upon the string that the expression of a note or passage requires will become easier to negotiate. Mastering this bow technique will elevate your level of playing immeasurably.To acquire the wrist action that is necessary in rapid détaché passages or movements  I strongly

recommend practicing Kreutzer Etude no.7. Begin at the point with an up bow slowly in marcato fashion with space between notes and gradually build up speed. Move towards middle of bow and repeat the process, always keeping the wrist flexible and manipulating the strokes with your fingers. Remember to keep the fingers closer together as they must work in unison. Do not extend the index finger as this will tighten the wrist. Now reverse the procedure starting with a down bow.You are now ready to begin rapid passagework. For this I would recommend the fast movements of the SOLO Bach Sonatas: the Presto of no.1 G minor or the Allegro of no.2 in A minor. Start slowly, as you did with the Kreutzer etude, with space between the notes, keeping in mind that you are working with your fingers and loose wrist. Gradually build up speed and keep your arm relaxed. Do not stiffen your wrist as the tempo increases.Again I want to emphasise the bow grip. In previous articles, I discussed the Franco-Belgian and Russian schools that are predominantly in use today. Most importantly do not grip tightly. The hand and fingers must constantly be relaxed to produce the best results in legato or rapid passage work. Remember that we always play in circular motions and the sensitivity of the fingers is the key to mastery of the bow.

Bring back violin recitals of the Golden Era, says Aaron RosandRecital programmes should be like a well-balanced meal, and always incorporate tasteful virtuoso pieces, argues the American maestroJuly 7, 2014

.mainplace#imageplaceRecital programmes have changed dramatically over the past 50 years. In the Golden Era when the illustrious greats of the violin world were in

their heyday, recital aficionados thronged to hear the masters show their special gifts in repertoire suited to their styles. The recital programme was varied and always included virtuoso pieces to delight the audience. I often refer to the recital being like a well balanced meal. Begin with an appetiser to whet the appetite, follow up with the main course and top it off with dessert to please the palette. The format would usually begin with an 18th-century work to set the pace and to establish tone and classic style. This was followed by a major sonata, contemporary or SOLO works, and then virtuoso pieces, including transcriptions, in many encores. On rare occasions a concerto such as the Vieuxtemps Concerto no.5 or Paganini could even be found in a recital.Today, violin programmes are not really violin programmes as they are overloaded with sonatas, which put the burden of responsibility on the piano. Rarely do you see the works of violinist composers represented in recitals. Works of Sarasate, Wieniawski and Paganini, that exhibit virtuosity, are rarely played because they have been labelled as trite music. But this is the very reason that recitals have lost the appeal and glamour of yesteryear, and the enthusiasm of the devoted audience. It is a noble cause to programme three Brahms sonatas or four Beethoven sonatas in one programme. But it is hardly a one-man show. Especially when you put a stand on stage and read the music. Recitals are more interesting whenever treated like an art exhibit with works from various periods.  Transcriptions seem to be forbidden in this era. And yet this was the very thing that made icons of artists such as Kreisler and Heifetz, who never omitted them in their recitals. There is a current trend in competitions to include a transcription by the above mentioned in audition tapes. The reason: to see if one has a sense of style. To play these works requires sophistication and taste. So why don’t we programme them anymore?  Are we becoming such musical snobs?    

In planning an interesting programme, think of it like telling a story. I have always used early sonatas by Tartini, Vivaldi, Pasquali, Handel, or works such as Vitali’s Chaconne and La Folia by Corelli to begin the programme. This sets the tone for the listener and gives you the opportunity to ‘warm up’. The first half of the programme should not exceed 40 to 45 minutes of playing time. PERSONALLY I have always included a solo work of Bach, Ysaÿe or Paganini, for example, to allow the violin to be heard alone. After the intermission, programme a work that does not exceed 17 to 20 minutes, be it contemporary or in contrast to the first half. Now you begin the fireworks with a tasteful selection of virtuoso pieces by mixing slow and fast moving works. Keep a central idea in mind and not a hodgepodge of unrelated pieces. Second half duration, for best effect, should account for 35 to 40 minutes maximum. Leave the audience wanting and demanding encores. Bring back the ardor and enthusiasm that marked recitals of The Golden era.Violinist Aaron Rosand on how to succeed in competitions and auditionsThe American virtuoso covers technical issues including accuracy, rhythm, intonation and vibrato, and also discusses musical authenticity and practiceDecember 3, 2014

Trends and playing manners have changed in recent years. From what I have observed in auditions and competitions, the successful candidates are those that perform with careful attention to literal accuracy, rhythmic control, and good intonation.What is literal accuracy?Simply defined, it means paying close attention to the composer’s notations, including tempo markings, dynamics, dots, etc: in other words, the black and white of the score. New editions of Mozart and Beethoven works are currently available that are close to the original manuscript to give

you a sense of the composers’ intentions. This is an integral issue to many judges in competitions.Rhythmic control has many facets: giving every note full value; an inner sense of tempo; an ability to maintain constancy; pacing when needed and an instinctive return to a tempo; not panicking and maintaining control in rapid passage work; firm discipline in treating quavers, semiquavers and demisemiquavers etc; giving your playing a sense of urgency in keeping with momentum in slow or fast phrases.Intonation is a key issue and must be treated with careful practice. Fingerings play an important role in deciding on how to negotiate a lyric phrase or a fast passage. Choose wisely to best express the music and to assure that the intonation will be as accurate as possible under strenuous conditions.Practice Remember to practice for 200 per cent as 100 per cent may be lost due to nerves in performance. The greatest artists were all nervous before performances because they wanted to do their best for the public. I remember a chat with Zino Francescatti when he told me that he lost a pint of blood for every concert. In 1947, I sat on a stage seat for a recital in Philadelphia by Jascha Heifetz. I was no more than 15 to 20 feet from the piano.  When he walked out on stage and stood by the piano to tune I could see his pants quivering. He remained stark still for what seemed like an eternity to regain his composure. As soon as he began to play he was in complete control and a complete master. This can only come about from extraordinarily methodical disciplined EXERCISE in practice sessions.When practising you must take into account that which can go wrong as well as what can go right. Concentration and experimentation is what practice is all about. Try many different ways to solve problems with bowing as well as fingerings and stay focused on your objectives.AuthenticityOver the years I have sat on many juries for

international competitions, as well as audition panels. There were numerous occasions where I had bitter arguments with respected judges after remarks such as, ‘That’s not how Beethoven should be played’ or ‘That’s not Bach!’ My response was, ‘If you know the right way let me in on the secret formula we can do away with individuality and give it to a robot.’ It is so presumptuous on the part of many judges to think there is a right or wrong way to interpret music. This narrow minded attitude has seen many gifted young players eliminated in early competition rounds. Individuality and style have taken a back seat to a concept of the correct manner of playing. If this attitude had existed in the past we never would have had artists such as Joseph Szigeti, Pablo Casals, Nathan Milstein, or Wanda Landowska who all performed Bach differently and beautifully with PERSONAL interpretations and style.There are trends to be sure that modify playing styles of various composers. We are looking more closely now upon the manuscripts of Mozart, Beethoven and Bach and adhering to the score. Here is where there are marked differences of opinion on how to approach the score and the extent of authenticity. In the case of Mozart, as he was a violinist in his youth, his bowing notations are valid and playable, but he did not compose his violin works with a violin in hand.  Much can be done to improve playability and to bring life to the music with tasteful bowing changes. But there are many in the purest camp who have no tolerance for such alterations.Beethoven and Bach are other examples of this division of opinion amongst esteemed musicians when judging in competitions. The greatest of composers were not violinists, but they compose some of the greatest works in the violin repertoire. The Bach manuscripts are readily available and there are so many of the SOLO sonatas and partitas. This is required repertoire in every audition and competition and still remains controversial. One point of view is that all bowing in the manuscript by J.S. Bach (or his

wife who presumably copied it) must be played as written: this, in the eyes of some, makes you a better musician. But there are, thank heavens, others who take a more lenient approach to performances given with taste and respect for the composer’s intentions, which do not necessarily adhere to every notation.In Beethoven’s scores there are many impracticalities in bowing notation, as he composed on a grand scale with disregard for technical problems. To make his sonatas and concertos come to life, careful bowing judgment must be made in order to negotiate his meticulous markings of dots, forte pianos, subitos, dynamics and lyric signs.  Remember that Beethoven was a pianist, and a great one at that, with limited knowledge of violin technique. Subtle changes can be made with reverence to the score that preserve musicality and taste. Once again, use good judgment and make sure that you observe every marking, as Beethoven knew precisely what he wanted.VibratoEvery composer requires a different type of vibrato. Varying your vibrato may be the key to your success. Learn how to control your vibrato speed and how to use a wider or narrower vibrato depending on the character of the music. A fast, narrow vibrato is undesirable and not appropriate for classic composers. Work towards developing an even vibrato that remains constant in a phrase. Avoid the stop and go variety from note to note and every bow change. Once the hand is in motion it does not stop until there is rapid passage work. Try to achieve a classic sound and avoid the hyper-excessive tone that becomes cloying. Also, remember that Bach requires minimal vibrato and fugues practically none at all.Violinist Aaron Rosand on how to practise effectivelyThere is no short cut to fine playing; only logical, intelligent and concentrated practice will yield results, writes the

American violin virtuosoOctober 6, 2014When beginning a practice session, keep in mind that you have to warm up the fingers of both hands. You cannot begin by trying to regain the sound or facility that you had after three to four hours of practice the day before. There must be a warm-up period before you attack the repertoire or you can severely strain your hands. In any physical sport, the muscles have to be EXERCISED to perform well. This applies to your right hand as well as your left hand. The right hand makes the sound, and control of the bow requires coordination of arm, hand and fingers. It is interesting to note that Kreutzer Etude no.1 is devoted to bow control. This etude is often overlooked in present day teaching methods.The left hand requires a reawakening process. Begin slowly with minimal vibrato and light finger pressure. The third and fourth fingers are the weakest and need more attention. Try playing a C major three octave scale using only the third and fourth fingers, and starting in the first position. Repeat this several times. Undoubtedly you feel some strain in your hand. Now rest for one to two minutes and play an octave A on the G and D string in first position. Holding first and fourth fingers down begin a chromatic line with second playing B-Flat, B Natural, and third finger C Natural, C-Sharp, then begin the descending line keeping all fingers on the string. Repeat this using minimal vibrato to produce a nice tone and draw your bow without pressure from frog to tip. If your left hand feels fatigued again rest for a few minutes.Now begin to EXERCISE the trill. In first position, trilling with third and fourth fingers can immediately strengthen your hand. Start with B flat on G string (second finger) and trill with C natural. The trill establishes finger independence, so do not shake your hand with involuntary vibrato. This applies to trills in any position. Continue on D string starting on F and trilling with G, C and D on A string, and G and A

on E string. Repeat this exercise using third and fourth fingers starting in first position on the G string with C natural and D, and move onto all strings.Now I would recommend Kreutzer Etudes for trills. My PERSONAL favorites are numbers 18 and 21, but any etude from 15 to 22 would certainly prepare your hand to play anything. To this day I practice Kreutzer for the basic fundamentals of violin playing. I also work on Rode Caprices that are remarkable studies. Scales are also PART of my practice routine and I do concentrate on one or two scales daily depending on the keys of the repertoire I plan to study. Personally I prefer the scale system of Ysaÿe stemming from the Franco-Belgian School because it employs the second and fourth positions that are avoided in the German school. The fingerings eliminate a shift and I find it better for intonation.I remember so well in the 1970s and 80s when Leonid Kogan and I were giving masterclasses in Nice at the Académie Internationale d’Eté, Kogan devoted all the time to playing scales and arpeggios; not permitting any other repertoire. Heifetz religiously practised scales for at least one hour a day. So I cannot minimise the effect of careful scale practice daily.In my many years of teaching, I have found that students who do not progress rapidly, invariably do not apply logic and intelligence to their practice routine. Slow and repetitive practice is of course necessary. However, careful analysis is required for both hands.  For example, keep in mind what part of the bow is needed to facilitate the passage. In fast running notes, whether tied or rapid detaché, do not practise with vibrato. Calculate where in the bow it must be played when in tempo. Gradually build up to tempo, but again I must emphasise do not use vibrato. This is a bad habit that can mar your intonation when playing rapidly. Keep your hand still! In a fast run, if after repeated practice it still does not go well, be creative. Try another fingering or change the bowing or concentrate on a note that may be a key

to the running problem. But do not keep on doing what does not work and spending time needlessly. Learn to focus your thoughts and to not become robotic in your practice routine.In a previous article about memorisation, I mentioned the photographic process that your eyes and ears play when practising. As quickly as possible, memorise the music and continue to practise until motor reflex sets in, and you can play it automatically without thinking of fingering note to note or up and down bow. Repeat this process the next day and continue until you can play it in your sleep.Now the work really begins as you turn all of your attention to the music making. I can spend many hours on a page working to express with heart and mind the music as I want to hear it. Many fingering changes take place in trying to express a lyric phrase as one would sing it. First and foremost study carefully the composer’s intentions and apply good taste as to what is appropriate in the manner of bowing, fingering, and shifting.  Your ideas may change from day to day; in which case, you begin again to experiment with fingerings and bowings until you are satisfied with your result. Remember that every piece you play needs a different approach. Within the same work there are many moods that you must express with bowing textures, vibrato speeds, and inner feeling of style. You are like a fine artist who applies different colors to a painting to express an emotion; happiness, sadness, humour are present in every composition. It is your responsibility to express them as best as you can. To capture a mood that you feel is appropriate requires patient practice and experimentation.Practising well requires complete concentration. Whether you are playing scales, etudes or a piece, at all times produce as beautiful a tone as you possibly can. Analyse carefully your bow distribution in slow as well as in fast music. Keep a good position and do not slump with the violin or with your left hand. Be patient because there is no short cut to fine playing. Becoming a

great player requires devotion and love of music and the willingness to sacrifice thousands of hours to do it beautifull.Aaron Rosand on portamentoThe American violinist examines how the great 20th-century violinists used the ‘gliding technique' to bring personality and individuality to their interpretationsFebruary 12, 2014Portamento: the carrying of a sound with the voice or stringed instrument, the transition from one note to another, higher or lower, without any break in the sound.This expressive device was the key to the Romantic style of violin playing. One can immediately identify an artist by his or her use of portamento to express their interpretation of the music. At the turn of the 20th century early recordings of Sarasate, Kubelik and others give evidence of a preoccupation with technique; it was Eugène Ysaÿe whose poetic approach used the gliding technique to make the violin sing like the human voice. His few recordings demonstrate his excessive use of portamento.Kreisler, who was a contemporary of Ysaÿe, stylised his interpretations with a portamento that I refer to as the ‘hook-slide’. He would drag his index finger and pounce on the desired note with the other fingers. When Heifetz came on the scene he brought with him a unique upward portamento, which he created by sliding with one finger from note to note. His subtle use of portamento and his near-perfect technique startled the violin world. Milstein came soon afterwards with his PERSONAL stamp, a downward portamento that gave his interpretations a sighing effect that was warm and expressive. Menuhin arrived using both, upward and downward slides. Sometimes he would drag a finger in the manner of a glissando with vibrato from note to note. The effect was very appealing.In my youth I attended many performances by these great players. I would sit in the first or second

row, studying every move, and tried to emulate what they did when I got home. What I learned from all these great artists was that you must never press the fingers of the left hand in affecting a slide, and you must make sure the bow speed is equal to the speed of your slide. I employ all of the sliding techniques in my interpretations.In the 1960s a change in violin playing began – a trend towards more literal and accurate interpretations of the written note and a purification of performance mannerisms. I often refer to this period as ‘The Inquisition’, where portamento was shunned and PERSONAL style and taste were considered old-fashioned. However, Oistrakh, Stern and Szeryng were outstanding artists of this period, with beautiful tones, who played with a minimum of sliding and personal mannerisms. This style has more or less persisted until the present day, although I have begun to see signs of change again.Portamento, when used tastefully, can bring a piece to life with the warmth and personality of the artist. Without it we might as well computerise our interpretations and eliminate portamento forever.