JLNotes 2013 March-April

7/28/2019 JLNotes 2013 March-April

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JLNotes

March-April 2013

As usual, thousands (virtually!) of things have to be done now, andhaving made the latest installment of JLNotes appear later than planned, Icertainly apologize for this delay. All the "things" cannot be done on time;they are never ending!

I am extremely proud of all the students that participated in the Kiwanis Music Festival. Everyoneplayed beautifully and definitely above the expectation and sure enough, they were all rewarded witha placing. Jessica Wei and Julia Mirzoev are now invited to participate in the Provincial Final.Congratulations to Dana Bultje, Ambrose Chan, Julia Mirzoev and Jessica Wei for your excellentefforts and achievements!

The North York Music Festival is around the corner (mid to end of April) and I wish all thoseparticipating the best of luck! Remember: a rigorous, thoughtful and intelligent work is alwaysrewarded!

The Annual Student Recital in January was a great success and we even finished on-time at 9:00 pm!All students played very well and there were many positive comments from parents and familiesabout how much their children were practicing in the time leading to the recital (and generally whenthey have to perform in public). So, there are many more opportunities to perform and therefore topractice well!

And another very big project that takes a lot of time: the preparation of the JVL Music in the SummerFestival in Cremona. You can read about that in the following section.

In this issue of JLNotes, you will find updates on the preparation JVL Summer School forPerforming Arts Music in Summer International Festival 2013, and some interesting articles. Aswell, you will also find a recommended listening of various violin repertoires with links to YouTube.There is also vital information regarding violin competitions and festivals, RCM examinations datesand deadlines and some information about upcoming concerts in Toronto. Also in this edition, youwill read about one of the greatest violinist of the new generation, Maxim Vengerov, and of coursemuch more!

So, enjoy reading and hopefully the next installment of JLNotes will appear in the near future. Icertainly would encourage and invite any comments and suggestions that you may have.

I hope the warm weather is just around the corner and those of you who have enough of the snow andbitter cold winter: be assured, Spring is almost here!


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News from J VL Summer School for Performing Arts

The registration for 12th season of the JVL Summer School for Performing Art InternationalMusic in Summer Festivalis now nearing its completion, and I look forward to seeing everyone in

Cremona in July!

Applications Deadline is March 30, 2013

www.MusicInSummer.com

We still are awaiting the confirmation from the Cremona Academy of the final number of places thatcan be allocated to the JVL students. Right now, we are at the almost capacity; however I am veryhopeful to have a few more spots available to those traditionally registering on the last day.

The Cremona Academy has reported a robust interest and registrations of musicians of all agesincluding young professionals, college, pre-college and younger students from around the world. Ourkids, with no doubt, will have a great time of music-making.

Last week we have already started to work on preparation of the chamber music material accordingto the student's level, and believe me, it is shaping to be a very interesting and extremely challengingprogram.

The concert calendar is filling up very fast and on Saturday, July 20th the "Young ComposersShowcase" concert has now been added to the roster. Due to the overwhelming success of the lastyear's Festival in North Bay presentation, we have decided to show the world the wealth of the talentand creativity of our young Canadian composers. You can see the complete list of concert on:http://www.musicinsummer.com/schedule.html

It just has been announced that a renowned violinist, Rimma Sushanskaya from

Great Britain, the last student and protge of the legendary Soviet violinist DavidOistrakh, will visit the Academy with Master classes. Below is the link to her website:http://www.rimma-sushanskaya.com/about/about-rimma-sushanskaya/

The preparation for the Cremona International Competition is now also in full swing.There is a great amount of applications have been received, especially for the intermediate and seniorgroups and soon after the April 2nd registrations deadline, the jury will start the selection process andwill send out the invitation to those candidates selected for the second round.

The travel arrangements to Italy have already been finalized by most of the students, however thosewho are still hasn't done it yet, and interested to join the group, please contact Tanya Chereshki from

Payless Travel who is the JVL SSPAs representative travel agent and will assist students and guestswith individual and group travel. Please contact her on 416-665-1010 ext.2734 or toll free:1-877-665-5050. The address: 1600 Steeles Avenue West, Suite 312, Concord ON Canada L4K 4M2.Website:www.payless-travel.com. You can e-mail her: [email protected]

Lake GardaItaly
http://www.musicinsummer.com/http://www.musicinsummer.com/http://www.musicinsummer.com/schedule.htmlhttp://www.musicinsummer.com/schedule.htmlhttp://www.rimma-sushanskaya.com/about/about-rimma-sushanskaya/http://www.rimma-sushanskaya.com/about/about-rimma-sushanskaya/http://www.payless-travel.com/http://www.payless-travel.com/http://www.payless-travel.com/http://localhost/var/www/apps/conversion/tmp/scratch_12/%[email protected]://localhost/var/www/apps/conversion/tmp/scratch_12/%[email protected]://localhost/var/www/apps/conversion/tmp/scratch_12/%[email protected]://localhost/var/www/apps/conversion/tmp/scratch_12/%[email protected]://www.payless-travel.com/http://www.rimma-sushanskaya.com/about/about-rimma-sushanskaya/http://www.musicinsummer.com/schedule.htmlhttp://www.musicinsummer.com/


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Important Dates

J VL SPPA and the Cremona International Music AcademyApplications Deadline: March 30, 2013www.MusicInSummer.com

Cremona International Music Competition for Strings and PianoJuly 2325, 2013

Registration Deadline: April 2, 2013http://www.musicinsummer.com/competition.html

Scarborough Philharmonic Orchestra

The Romantic MastersLeo Jarmain, violinCissy Zhou, piano

Program:Rachmaninoff - Piano Concerto No. 2

Saint-Sans - Havanaise, Opus 83 for Violin and OrchestraRespighi - Pines of RomeRimsky-Korsakov - Capriccio Espagnol

Saturday, May 11, 2013 - 8:00 PMThe Salvation Army Scarborough Citadel2021 Lawrence Avenue East

http://www.spo.ca/concerts.html


Chamber Music ConcertDavid Lakirovich, violinPaulina Swierczek, sopranoMarc Widner, pianoSt. Paul's L'Amoreaux Youth String Ensemble

Program:FranckSonata for violin and piano in A majorRavel - TziganeRival - Schubert FantasySchumann: pieces fromKreisleriana

Songs by Fisher, Gershwin, Strayhorn, Berlin and Judson/Tyler

Saturday, May 25, 2013 - 8:00 PMSt. Paul's L'Amoreaux Anglican Church3333 Finch Ave. E.

http://www.spo.ca/concerts.html
http://www.musicinsummer.com/http://www.musicinsummer.com/http://www.musicinsummer.com/competition.htmlhttp://www.musicinsummer.com/competition.htmlhttp://www.spo.ca/concerts.htmlhttp://www.spo.ca/concerts.htmlhttp://www.spo.ca/concerts.htmlhttp://www.spo.ca/concerts.htmlhttp://www.spo.ca/concerts.htmlhttp://www.spo.ca/concerts.htmlhttp://www.musicinsummer.com/competition.htmlhttp://www.musicinsummer.com/


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News from Examinations and Competitions

Here are some dates and deadlines for RCM examinations and for festivals and competitions:

RCM ExaminationsSpring Session Registration Deadline: too late!Theory Examinations: May 10 and 11, 2013

Practical Examinations: June 10-29, 2013

Summer Session Registration Deadline: June 4, 2013Theory Examinations: August 9 and 10, 2013Practical Examinations: August 12-24, 2013http://www.rcmexaminations.org/

North York Music FestivalApril 12 - 29, 2013Registration Deadline: February 18, 2013

http://www.northyorkmusicfestival.com/

Peel Music FestivalMarch 18 - April 28, 2013Registration Deadline: too late!

http://www.peelmusicfestival.ca/Main.aspx

Canadian Music CompetitionApril - June, 2013Registration Deadline: too late!

http://www.cmcnational.com/en/cmc2013/

The Most Incredible Movie

Please watch it!

Conductor Herbert von Karajan rehearsing with

Nathan Milstein in Lucerne,Switzerland.

Lucerne,1957

Milstein - Master of Invention (part 1)http://www.youtube.com/watch?NR=1&feature=endscreen&v=a1f_1Gajh-Y

Milstein - Master of Invention (part 2)http://www.youtube.com/watch?v=Jw1DfkqARtc&feature=watch_response
http://www.rcmexaminations.org/http://www.rcmexaminations.org/http://www.northyorkmusicfestival.com/http://www.northyorkmusicfestival.com/http://www.peelmusicfestival.ca/main.aspxhttp://www.peelmusicfestival.ca/main.aspxhttp://www.cmcnational.com/en/cmc2013/http://www.cmcnational.com/en/cmc2013/http://www.youtube.com/watch?NR=1&feature=endscreen&v=a1f_1Gajh-Yhttp://www.youtube.com/watch?NR=1&feature=endscreen&v=a1f_1Gajh-Yhttp://www.youtube.com/watch?v=Jw1DfkqARtc&feature=watch_responsehttp://www.youtube.com/watch?v=Jw1DfkqARtc&feature=watch_responsehttp://www.youtube.com/watch?v=Jw1DfkqARtc&feature=watch_responsehttp://www.youtube.com/watch?NR=1&feature=endscreen&v=a1f_1Gajh-Yhttp://www.cmcnational.com/en/cmc2013/http://www.peelmusicfestival.ca/main.aspxhttp://www.northyorkmusicfestival.com/http://www.rcmexaminations.org/


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InterviewMaxim Vengerov: Conducting, Competitions, and Returning to the Violin

Maxim Vengerov couldn't be happier to be playing the violin again, after hisfour-year hiatus from performing, and after the painstaking reinvention of hisplaying technique following shoulder surgery. Now 38, Vengerov returns to theconcert stage with his world enlarged: more conducting engagements, continuingteaching posts with the Royal Academy of Music in London and International

Menuhin Academy of Music in Switzerland, and increased involvement withinternational violin competitions. During his years away from the violin, hestudied conducting, and he also married Olga Gringolts, sister of Ilya Gringolts.

(They just celebrated the first birthday of their daughter, Elizabeth.) Vengerov will be in NorthAmerica this May for the Montreal International Music Competition, which features the violin in2013. (By the way, applications are due on January 18 if you wish to participate.) Vengerov willconduct the Orchestre Symphonique de Montral, accompanying the finalists and then the winners ofthe competition.Vengerov was a superstar from the start, beginning his lessons at age five in Novosibirsk, Russia(still the Soviet Union at the time of his birth) with Galina Tourchaninova, then with the great ZakharBron. Soon he was winning major international competitions and awards. At age 10 he made his firstrecording, then proceeded to record just about everything in the violin repertoire. As a teenager, hegot to know both Mstislav Rostropovich and Daniel Barenboim, who became friends and mentors tohim. He owns and plays the 1727 "Ex-Kreutzer" Stradivarius violin, and he was the subject of thedocumentary, Living the Dream, which received the Gramophone Award for Best Documentary in2008.Vengerov stopped playing in 2007, citing both professional malaise and a weightlifting injury to hisright shoulder that had plagued him since 2005. This month he releases his first recording in fiveyears: the recording of his comeback recital on April 5, 2012, at Wigmore Hall in London.During the holidays, I spoke with Vengerov over phone from Lugano, Switzerland, where he wasvisiting family. We talked about his mentors in music and conducting, Rostropovich and Barenboim;about his return to violin playing, with physical pain as his guide; and about competitions and hisnew role with Montreal International Music Competition and the Wieniawski competition.Laurie: I enjoy your playing so much, and your Shostakovich recording, with Rostropovichconducting, is one of my favorites. How different is it to conduct a concerto, than to play one?Maxim: I can tell you one thing about Maestro Rostropovich: he may not have been regarded as oneof the greatest conductors from the technical point of view; but I made seven CDs with him, and Imust say, those recordings are my best ones. And I recorded with many other wonderful maestroswho were not instrumentalists. I think it was his great musicianship and also understanding of theviolin repertoire, of the stringed instruments, that helped us to build an incredible chemistry that I hadwith no one else. That's why I think I've inherited this love for accompaniment, to accompany youngpeople, my colleagues. I love to not only accompany violin but also piano soloists. For me, it is agreat challenge and a great privilege to be on stage with them.Laurie: I know that two of your mentors were the cellist Mstislav Rostropovich and also the pianistDaniel Barenboim, and both of them are conductors. Did you speak about conducting with them, ormostly about music, or both?Maxim: Both! Music, conducting, playing with the orchestraThey were my mentors, andsometimes our meetings went far beyond technical issues. Of course, the principal source of ourmeetings was the music, and what was required to perform Shostakovich, Prokofiev, Tchaikovsky, orBrahms, Sibelius, Nielsen.I've recorded most of my violin repertoire with these two conductors,who were also instrumentalists.Laurie: What kinds of things did you learn from each of them?Maxim: Slava (Rostropovich) was like a musical father, he was so close to my heart. Again, it wasmuch more that I learned from him than just music, and musical expression. The thing that struck mewas his humanity, and he transformed me into sort of a man of the world. Before meeting him, I was
http://www.rostropovich.org/en/aboutushttp://www.rostropovich.org/en/aboutus


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just a talented player that loved playing for audiences. We worked principally on pieces bycomposers that he had met and that he had friendships with. Those were Shostakovich, Prokofiev,Britten, Walton, Stravinsky. Beyond that, we also recorded Beethoven. One of the interesting things,when I came to play Beethoven for him, he said, "You know what, Maxim, I can just feel thatBeethoven is trying to say something to me, because I think if you play it like this, he would love it."I asked him, "How do you absolutely know this, that Beethoven would love it?" and he said,"Because I think even the composer was convinced, even it wasn't his way. Even if the tempo isslower or faster than he would imagine, he would enjoy it!" For (Slava), it was a matter of beingconvinced what Shostakovich and Beethoven and Tchaikovsky was, even if he had not met thosecomposers. For Barenboim, it was a different approach. He would view a piece of music as aninstrumentalist, as a pianist, from the harmonic point of view, from the orchestration, coloring.(Barenboim's was) also an amazing view, completely different from Slava. With Slava, it was thisinstant connection with the composer, with the soul of the composer. He would tell me, you have toimagine you were Shostakovich, or you were Prokofiev, performing the music. One of the moststriking and touching things Slava told me was right at the end of his life, when I met him for the lasttime in the hospital. He told me that when he met me, I played beautiful Tchaikovsky, Prokofiev, andhe told me a lot of things about those composers. But Shostakovich, he didn't have to tell me; it wasas if I knew this composer when he was alive. And that was the biggest compliment, coming fromhim. For Barenboim, the work was written, and that's in the past. He would approach it as if he werere-working and re-writing the whole work from scratch. But I think those were also Slava's qualities,he would take the work and say, "We have to try to reinvent this and make it as if we are doing aworld premiere of the Beethoven Violin Concerto," which is actually hard to imagine! How manytimes has the Beethoven Violin Concerto been performed, since the concerto was written? But hewould still find something very personal, something that is personal to him. I learned a lot from thisapproach.Laurie: So what do you feel for you, as a conductor, is the most important thing, when working witha soloist?Maxim: First of all, one has to reach a harmony with your colleague, the soloist.Laurie: If you can!Maxim: If you find no harmony whatsoever with the soloist (he laughs) -- that happens sometimes --because sometimes the soloist doesn't want to or cannot, due to the lack of experience or anunwillingness to connect with you. There are some players that think: here I am, a violinist or pianist,and you're an orchestra conductor, to serve me. It's a normal approach -- I don't say this as somethingnegative. It's obvious that if we listen to the recordings of Jascha Heifetz of the most beautiful worksby Sibelius, Beethoven -- with great conductors, you hear a loud, very present violin sound, andsomewhere in the back is an orchestra! (He laughs) That's why I don't say this is bad! It's a matter ofupbringing, a matter of habit, how the performer views the music. And some people view it in a sortof horizontal way: a line of the violin, or piano, with accompaniment of orchestra.Laurie: And so what do you do if the soloist views it that way?Maxim: Then you just serve your best, to be together and to support the instrumentalist, soloist, andtry not to be annoying. For me, to be frank, it's less interesting because it becomes a matter of sport:Can I be together, or can I not be together? You use your professionalism to bring the orchestra at the

right (dynamic) level, at the right speed, at the right form of articulation -- and this is what I call agood service to the soloist. Now, when the soloist meets you and says, "This is how I feel," and "Let'smake music together," you discuss a little bit, he or she plays for you, something in the dressingroom, and then once you start making music on stage, a harmony has to be reached. You canabsolutely disagree with the soloist, but again I should serve the best I can at the moment -- and notbe passive, but be active in the accompaniment, to bring out the harmonies to stimulate the soloist toplay his or her best. The conductor and orchestra, depending on the piece, provide the rhythm,character, harmony, and the spirit of the work.Laurie Do you like conducting and playing equally well, or is there one you prefer over the other?


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Maxim: It's like saying, I was born in Russia and my mother tongue is Russian. Do I love German,or English, more? I can't say I love Russian less, it's just so different! (He laughs) and I enjoyspeaking different languages.Laurie: How many do you speak, by the way?Maxim: Well I speak English, fairly good German, not reasonable French. (He laughs) In time, Ihope to speak French well! And a bit of others For me, violin is my first source of communicationwith the audience -- no doubt, my first love. But before coming to the violin, I wanted to become aconductor, because my mother was a choir conductor, and I saw her conducting. I sat in on all therehearsals -- I was singing in the choir. She wanted to become a symphonic conductor, but because Istarted playing, and I needed her to be with me, she quit her job. She didn't develop the symphonicconducting career that she wanted. My father worked in the orchestra as an oboist, so I visited hisrehearsals and watched the conductor who was the principal conductor of the NovosibirskPhilharmonic, Arnold Katz. I really loved his example. He was my idol at the time, when I was threeand four. He just passed away a few years ago. Laurie: So you had this in mind, for a long, longtime.Maxim: Yes, I had this in mind, but then I started with the violin and I was sort of stuck with that!(He laughs)Laurie: You were so good at it, still are!Maxim: Quite successfully stuck, let's say. And I rather enjoyed that, throughout my years. And thenthere came a time when I needed to conduct the English Chamber Orchestra, and so I needed to takesome lessons. I didn't, and I still don't, believe that somebody with absolutely no knowledge ofconducting technique can go in front of orchestra and say, okay, I can play the violin great, now I canconduct! It also requires some time, to learn the language of the musicians. You have to speak theirlanguage.Laurie: Whom did you study with?Maxim: I studied at that time with Vag Papian, who was my pianist. Vag was a student of a veryimportant teacher in Russia, Ilya Musin, who was a teacher of Valery Gergiev, Semyon Bychkov,Yakov Kreizberg, and many others.Laurie: What kinds of things did you learn from him?Maxim: He comes from the Leningrad school of conducting, which provides great technical basicskills for the conductor. For me, that was wonderful to go through, the studies with Vag. I progressedquite quickly, and I was able to conduct chamber orchestras. Then in 2009, I decided to studyconducting on a different level, a more serious level, so I would be able to conduct symphonyorchestras. At this time I became a student of Maestro Juri Simonov. He comes from another schoolof conducting, also from Leningrad, from St. Petersburg. His teacher was (Nikolai) Rabinovich. SoRabinovich was a student of Aleksandr Gauk, Gauk was a student of Nikolai Malko. Malko was astudent ofFelix Mottl (and Mottl was a contemporary of Mahler.) So that is the Russian-Germanicschool of conducting.Laurie: A good pedigree!Maxim: I'm very lucky, because Juri Simonov provided a phenomenal manual technique ofconducting that allows me to show quite a lot of things with my hands, without using a lot of verbalexpressions.

Laurie: I'm sure you wind up in front of orchestras with musicians who speak many differentlanguages, but we all speak music, right?Maxim: Yes. What's important is to be able to express yourself and the way you feel about thismusic, your interpretation, with your gestures. That's why you need to learn the source ofcommunication: conducting technique.Laurie: There are too many people who get up there and do some kind of ballet that doesn't reallyconvey a lot.Maxim: It may work in the short-term, because the orchestra is inspired. Also nowadays, orchestras(are so good), they can play even without a conductor. But if one becomes music director, you need adifferent knowledge.Laurie: Do you want to become a music director, one day?
http://en.wikipedia.org/wiki/Ilya_Musin_%28conductor%29http://en.wikipedia.org/wiki/Aleksandr_Gaukhttp://en.wikipedia.org/wiki/Felix_Mottlhttp://en.wikipedia.org/wiki/Felix_Mottlhttp://en.wikipedia.org/wiki/Aleksandr_Gaukhttp://en.wikipedia.org/wiki/Ilya_Musin_%28conductor%29


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Maxim: I'm not sure I would like to become a chief director of an orchestra, I will tell you why:simply for one fact, because I may have to abandon my violin. (A music directorship) is a big job: tospend at least 15 weeks with the orchestra, to learn all this repertoire each year, to do theadministration, to discuss the agenda with the orchestra, to advocate for the right soloistthere's a lot

of work, being a music director. And it's not only the conducting -- conducting takes maybe the leasttime! That's why, I may look for a guest conducting position, which would require maybe three tofive times a year somewhere.Laurie: A regular guest conductor.Maxim: Yes, to establish a very good relationship with an orchestra. That is what I think, in time, Iwill be looking for.Laurie: Now speaking of abandoning your violin, did you ever really do that during your break fromperforming, or were you pretty much playing the whole time? Are you happy to be back toperforming?Maxim: First of all, I'm incredibly happy to be back on the violin.When I couldn't play for four years -- it was a very good time for me, actually, because I could studyconducting. Otherwise, I never would have been able to devote myself to this learning process. Sofrom this point of view, it was great that I didn't play the violin. Also, it's increased my deeperknowledge in music, not only conducting, but I think I have more colors to my violin playing thanbefore, for the fact that I hear it somehow differently. Anything we learn and anything we go throughin life gives sort of an imprint on your main profession. I can feel now, as a violinist, I'm a differentperson, and I'm thankful for these four years of time. But I missed my violin for at least two of theyears that I didn't play: the third and fourth years. The first two years were just great -- because I hada good rest! But then I said to myself, "Ooh, I really miss it," and I was looking for a way to comeback. It wasn't easy, I must say, it wasn't.Laurie: How did you do it, how did you come back?Maxim: I came back because I was lucky to find a good surgeon who performed wonderful surgeryon me, on my shoulder. And then I had one year of rehabilitation.Laurie: I wondered if you had to change your violin technique.Maxim: Not only did I have to change technique, but I wanted to. It was very natural for me tochange technique. I feel much more free with the instrument. Because simply, I was putting too mucheffort into the violin-playing, it was sort of too physical. Now, I use only what's necessary to producethe sound and articulation -- whatever I need. Now I don't move too much, whereas before, mymovements were sort of like a palm tree!Laurie: When you rehabilitated, did you work with a doctor, or a violin teacher, or both?Maxim: Totally alone. I had two criteria: First, music. The final result in music, what I wanted tohear, because I have very strong expectations, always, as to how it has to sound. And the secondcriteria: it had to be as less-physical as possible. So I wanted to achieve the (musical) results Iwanted, with as less effort as possible.Laurie: Did you play repertoire, did you play scales, how did you do it? I can think of a lot ofviolinists who would love to improve their physical playing to improve their health, but it's hard toknow how.Maxim: I must say that in this way, I was really lucky, because I had had an operation, and I was still

in pain when I got out of the operation. Four months after the operation, I had done a lot of rehab,physical exercises, but I still couldn't play. So I had to work with pain, with quite a lot pain, actually.I had to (address the) matter of relaxation in my playing, otherwise I couldn't sustain playing morethan 10 minutes.Laurie: So the pain kept you from overdoing it.Maxim: Exactly. So pain was sort of my red light. (He laughs)Laurie: Pain was your teacher.Maxim: Yes. If I had pain, that meant I was doing something wrong. It's amazing, actually. I realizedthat if I am in pain when I'm playing, I had to balance it. (I had to use) force, but just enough to getthrough. And I had to always increase the amount of playing. I started with 10 minutes, then 15minutes, then 20, I got to an hour. It was quite a long process. Then very naturally, I could see that


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my movements were more refined than before. I had reconstructed everything, including my lefthand, and my position of the neck.... Violin-playing, as anything else in life, is not only about beingrelaxed, but you have to contract your muscles and de-contract. The relaxation after the contraction isvery important, you have to be 50-50. So I was working with this balance for a very, very long time,until I felt absolutely at ease, which is now. Now I feel that. Yes it's true, I could write a book aboutthis.Laurie: It would be a very interesting book! Inspirational. It's hard to work back from something likethat.Maxim: Actually, I didn't do it totally alone. My father was my mirror all that time. He helpedme -- he was more of a psychiatrist. (He laughs) But I think now my father can -- if you gave him theviolin, I think he would start playing now! (He laughs) Although he never touched the violin in hislife!Also, I'm helping a few young people now, who came to me after the operation. I understand theirdifficulties. I'm actually the one who has gone through it, and I'm a good example for them. Notdirect students, but they come to me and I see them regularly.Laurie: You do teach though, at the Royal Academy in London, yes?Maxim: Yes. At the Royal Academy, and at the International Menuhin Academy of Music in Gstaad,Switzerland.Laurie: I've watched an old masterclass video of you teaching and you look like a fun teacher, doyou enjoy teaching?Maxim: Yes, although I must say that my style of teaching is different now, due to experiences I'vehad, and also my conducting experience, and experiences with viola and baroque violin -- all of thesethings add to the package.Laurie You have also been more involved with competitions -- as chairman of the jury for theWieniawski Competition, and this year you will be working with the Montreal International MusicCompetition. How did you get involved with the Montreal competition?Maxim: I've known about the Montreal International Music Competition for quite a long time. It's awonderful competition, and when the organization approached me, I thought it would be a greathonor. Also, with my experience as chairman of the jury for the Wieniawski Competition, I felt thiswould be wonderful continuation, to be involved with another competition.Laurie: So you will be both conducting and serving on the jury?Maxim: We decided that I should not be on the jury after all, because I'm going to conduct in thefinal round. It's difficult to be on both sides of the fence! (He laughs) So this time I prefer to be withthe colleagues, with the young competitors. I know how difficult and challenging it is to perform infront of the jury -- not only that, but to compete among other brilliant young musicians. We have avery good committee, so I'm sure the choice will be made wonderfully, and I trust the competition isgoing to be at the highest level possible. I'm very excited about conducting all the finalists.Conducting the violin repertoire is one of my favorite things to do, because I do understand thechallenges of the concerto, and I know the difficulties of playing with the orchestra. As conductor, Ithink I can be of some help to the young competitors.Many people wonder, why do we need to do competitions? Many young people say, maybe if I canlearn a couple of concertos, can get a good PR agent, it will just happen for me! Yes, it might,because with today's media possibilities -- the Internet, TV, all the promotional activities -- you can

achieve phenomenal things to promote yourself. But there is something that we forget, by promotingyourself. We sometimes forget about the main reason why we are playing for people. We are playingthe greatest compositions -- Beethoven, Brahms, Shostakovich, Tchaikovsky -- they left for us thisgreat heritage. It's as if people go to museums to see Leonardo da Vinci, the great paintings -- wehave to deliver these great works, all the concertos, sonatas, chamber music, symphonies, in the bestpossible way that we can. We have to find very personal approach to them. Every soloist nowadayshas to try to say something unique, something personal. Otherwise, if you're playing just anotherperformance of Brahms concerto, why do we need to hear that?That is the great lesson that Barenboim taught me. I played the Sibelius concerto for him, in a privateroom with the pianist, and I was very happy about my performance. I felt it was very emotional, goodtechnically -- and he didn't say anything. I asked him, "Maestro, don't you like it?" He said, "Yes, I
http://www.concoursmontreal.ca/permanent/en/index.asphttp://www.concoursmontreal.ca/permanent/en/index.asphttp://www.concoursmontreal.ca/permanent/en/index.asphttp://www.concoursmontreal.ca/permanent/en/index.asp


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like it. It's great violin-playing. But I want to hear your Sibelius! I didn't hear your Sibelius." I askedhim, "What do you mean, my Sibelius?" He said, "Well, take the score, don't play the violin anymore. Just study the score. Tomorrow morning, we have the first rehearsal with the orchestra, and Iwant to really hear your Sibelius, your discovery, based on your new, detailed knowledge of themusical score." I spent one whole night with the score of the Sibelius, and I totally re-discovered thiswork. Of course, the first rehearsal was far from perfect, and even my technique started to losesomething because I was more busy with the music. So I went a step back, and after rehearsal I wasvery unhappy. But Barenboim came to me and said, "Well, I am happy that you have startednow."Why do we need competitions -- we want to hear every young competitor, to compare theirinterpretations, their souls, their personalities, how each of them views Beethoven, Mozart, evenPaganini -- Paganini was a great composer, not only sportsman, as some people view him. And wewant to go definitely beyond technique, because in today's society, with all our new technologicalpossibilities, the level of technique has grown. That means the development of the human souls hasto be even higher, has to match the technical possibilities.Laurie: So when you are on a jury, it sounds like you are looking for the kind of thing that DanielBarenboim was looking for in you.Maxim: Absolutely. That's why we need competitions. Because we can recognize out of 40-50players -- we want to find the most developed ones, the people who, in their future, will bringsomething to our audience, will bring something to the music, will add something to the musicalworld. And beyond that, even those people who do not pass through to the finals, they will havegoals, they will have dreams fulfilled because they were at the competition where the atmospherewas incredible, where the level, not only technical but the performing art level, was fantastic. So theygo away from the competition with the souvenirs and new challenges.Laurie: Inspired.Maxim: Inspired. That's what, we need to inspire young people.

January 9, 2013

Laurie NilesViolinist.com

Did you know...

CITES backs instrument 'passports'

Certificates agreed for items containing endangered species

Delegates at the Convention on International Trade in EndangeredSpecies (CITES) have accepted a draft resolution to implement a so-called 'musical instrument passport' for musicians to present whencrossing international borders. The passport, which will containdetails of all protected species (such as ivory and tortoiseshell) within

the instrument, will be an optional alternative to the current system of permits. Under currentregulations, musicians carrying such instruments are often required to have a permit to enter a certaincountry, and then obtain another in order to leave it. A passport, which will be valid for three years,will state that the instrument is owned for personal use and may not be sold, loaned, traded orotherwise disposed of outside the individuals state of usual residence. The draft proposal wasoriginally drawn up by the US Fish and Wildlife Service (FWS). Tim Van Norman, FWS' branchchief of permits, estimated that the US would begin implementing the resolution 'within 90 days,assuming everything goes as planned, with the whole body of the Convention adopting theresolution'. He added that FWS would also be releasing guidance documents, such as applicationguides and fact sheets, before implementation begins. Heather Noonan, vice president for advocacyat the League for American Orchestras, welcomed the agreement as an aid to streamlining thecomplex permit system. However, she stressed, 'It is essential that a passport be voluntary, and takeinto account the time, expense, and practical realities of travelling with instruments. It is key that


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steps are taken today and in the future to educate the music community about how to navigate thepermit rules both those existing CITES requirements and the varying domestic endangered speciespermit rules for each country, which won't be covered by the CITES passport concept.' She alsostated that the passport concept would not be 'a silver bullet' in itself. Details such as the likely cost ofa passport or the duration of the application process have not yet been disclosed. However, it isacknowledged that not all of the 178 countries represented at the CITES conference will beimplementing the passport: Australia, for instance, will not do so because the passport will have to behand-stamped rather than electronically processed.

Concert Calendar

Here are the details of some Toronto concert organizations websites:

Toronto Symphony Orchestra

http://tso.ca/Home.aspx

Canadian Opera Company

http://www.coc.ca/performancesandtickets.aspx

National Ballet of Canadahttp://national.ballet.ca/performances/season1213/

Roy Thomson Hall

http://www.roythomson.com/

Royal Conservatory Concerts

http://brochure.rc.mu/

Tafel Music Baroque Orchestra

http://www.tafelmusik.org/


http://www.spo.ca/

Some music quotations:

Music expresses that which cannot be said and on which it is impossible to be silent.Victor Hugo

Music is a higher revelation than all wisdom and philosophy.Ludwig van Beethoven

Beautiful music is the art of the prophets that can calm the agitations of the soul; it is one of the mostmagnificent and delightful presents God has given us.Martin Luther

Hell is full of musical amateurs.George Bernard Shaw

When words leave off, music begins.Heinrich Heine
http://tso.ca/home.aspxhttp://tso.ca/home.aspxhttp://www.coc.ca/performancesandtickets.aspxhttp://www.coc.ca/performancesandtickets.aspxhttp://national.ballet.ca/performances/season1213/http://national.ballet.ca/performances/season1213/http://www.roythomson.com/http://www.roythomson.com/http://brochure.rc.mu/http://brochure.rc.mu/http://www.tafelmusik.org/http://www.tafelmusik.org/http://www.spo.ca/http://www.spo.ca/http://www.spo.ca/http://www.tafelmusik.org/http://brochure.rc.mu/http://www.roythomson.com/http://national.ballet.ca/performances/season1213/http://www.coc.ca/performancesandtickets.aspxhttp://tso.ca/home.aspx


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Some funny videos

Being John Sebastian Bach

http://www.youtube.com/watch?v=9A95yzVgBTs&list=PLD1F522C214697D31

Don't Want No Trouble

http://www.youtube.com/watch?v=1wJ0YmWrq6w

Igudesman/Strauss: Kukuckhttp://www.youtube.com/watch?feature=endscreen&v=S0vWx7Zj9aw&NR=1

Some funny stories:

Why is a viola solo like a bomb?By the time you hear it, it's too late to do anything about it.

How can you tell when a violist is playing out of tune?The bow is moving.

Why do so many people take an instant dislike to the viola?It saves time.

What's the latest crime wave in New York City?Drive-by viola recitals.

and not so funny:

Two years ago an orchestra was on tour in France. One evening they decided to go find some snailsso they could have escargot for dinner. Everybody was given a bag and send into the vineyards.Gradually everybody came back with their bags filled with snails. All sections were there except theviolists, who returned several hours later. The concertmaster asked, "Were have you been for so longand why are your bags empty?""Well," they said, "I don't know how you managed, but It was a disaster. We saw a lot of snails, butthey were quick! Just as we went to get them, rush...and they were gone!"

Once upon a time, there was a blind rabbit and blind snake, both living in the same neighborhood.One beautiful day, the blind rabbit was hopping happily down the path toward his home, when hebumped into someone. Apologizing profusely he explained, "I am blind, and didn't see you there.""Perfectly all right," said the snake, "because I am blind, too, and did not see to step out of yourway."A conversation followed, gradually becoming more intimate, and finally the snake said, "This is thebest conversation I have had with anyone for a long time. Would you mind if I felt you to see whatyou are like?""Why, no," said the rabbit. "Go right ahead."
http://www.youtube.com/watch?v=9A95yzVgBTs&list=PLD1F522C214697D31http://www.youtube.com/watch?v=9A95yzVgBTs&list=PLD1F522C214697D31http://www.youtube.com/watch?v=1wJ0YmWrq6whttp://www.youtube.com/watch?v=1wJ0YmWrq6whttp://www.youtube.com/watch?feature=endscreen&v=S0vWx7Zj9aw&NR=1http://www.youtube.com/watch?feature=endscreen&v=S0vWx7Zj9aw&NR=1http://www.youtube.com/watch?feature=endscreen&v=S0vWx7Zj9aw&NR=1http://www.youtube.com/watch?v=1wJ0YmWrq6whttp://www.youtube.com/watch?v=9A95yzVgBTs&list=PLD1F522C214697D31


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So the snake wrapped himself around the rabbit and shuffled and snuggled his coils, and said,"MMMM! You're soft and warm and fuzzy and cuddly...and those ears! You must be a rabbit.""Why, that's right!" said the rabbit. "May I feel you?""Go right ahead." said the snake, stretching himself out full length on the path.The rabbit began to stroke the snake's body with his paws, then drew back in disgust. "Yuck!" hesaid. "You're cold...and slimy... you must be a conductor!"

News

SF Symphony cancels tourCarnegie Hall concerts called off due to musicians strike

The San Francisco Symphony has been forced to cancel its tourof the US East Coast, after the orchestras musicians failed tocome to an agreement with management over a new contract.The four-date tour was to have included two concerts at NewYorks Carnegie Hall, and one apiece at the Kennedy Center inWashington DC, and the New Jersey Performing Arts Center in

Newark. Four more concerts have already been cancelled at the orchestras home venue, DaviesSymphony Hall in San Francisco (left). According to a statement from the management, themusicians union rejected the idea of a cooling off period, put forward by a federal mediator. It alsorefused the managements most recent proposal, for a new annual minimum salary of $145,979 withannual increases of one per cent and two per cent in successive years. Before the musicians went onstrike on 13 March, they had been playing without a contract since 15 February. In previousstatements, the union negotiators have argued that orchestras in Los Angeles and Chicago receivearound $7,500 more annually, and that the cost of instruments and living in the San Francisco BayArea hurt their ability to compete with their peers nationally

Musicians hail plans to force clarifications from airlines European airlines will be obliged to layout their terms and conditions for carrying musical instruments, both in the cabin and in the hold,

under new revisions proposed by the European Commission (EC). Theproposals, which could become law as early as 2014, will also ensure thatinstruments are not refused for any reason apart from safety or technicalspecificities of the aircraft. Musicians often do not know in advance underwhich conditions fragile and often very expensive instruments will be taken

on board, states the EC memo, published on 13 March. Under the proposal, the air carriers mustaccept smaller instruments into the passenger cabin and must clearly indicate the terms andconditions for the transport of larger instruments in the cargo hold. The proposal, however, does notgive definitions for smaller and larger instruments. Regarding the liability of airlines over passengersand their luggage, the memo states: National authorities will be responsible for the enforcement ofcompensation rules for mishandled baggage, and the new rules on the transport of musicalinstruments make sure that their carriage is not refused on other grounds than safety or technicalspecificities of the aircraft.John Smith, president of the International Federaion of Musicians,welcomed the proposals. It is only by working at a European and international level that we cansuccessfully tackle this issue, as the problem is much broader than just UK airlines, he said. Theproblem has always been that existing law allows each airline to set their own policy regardingmusical instrument, and this proposal would bring much needed uniformity and fairness to the wholesector.The proposals are part of an extensive revision of the ECs air passenger rights legislation,aimed at clarifying the airlines various regulations and eliminating legal grey areas. As well as theprovisions on musical instruments, the commission seeks to force airlines to clarify baggageallowances, provide clear procedures for handling complaints, and eliminate charges for correctingmisspelt names on tickets.


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Titanic violin to be auctioned

Instrument said to have been played while ship sank

A violin that belonged to Wallace Hartley, bandmaster on the ill-fatedmaiden voyage of the RMS Titanic, is to go on display in Belfast CityHall at the end of March. According to specialist Titanic auctioneersHenry Aldridge & Son, the water-damaged instrument (left) is the one

played by the violinist as the ship went down: according to legend, Hartley played the hymn NearerMy God to Thee as passengers were being loaded into the lifeboats.The violin has been examined by Bath-based dealer Andrew Hooker, who estimated its date asbetween 1880 and 1900. Based on a Maggini model, it was probably made in a German factory,possibly in Markneukirchen or Klingenthal. It has a spruce front and maple back. No makers labelhas survived, although the violin bears a silver plate on the tailpiece, with the inscription: ForWallace on the occasion of our engagement from Maria.The data corresponds with the known factsabout the Titanic violin, which was given to Hartley by his fiance, Maria Robinson, in 1910.Supporting the theory that the violins are the same is the transcript in Robinsons diary of a telegramdated 19 July 1912, three months after the sinking. Addressed to the Provincial Secretary of NovaScotia, it reads I would be most grateful if you could convey my heartfelt thanks to all who have

made possible the return of my late fianc's violin. According to auctioneer Andrew Aldridge, WallaceHartleys body was recovered on 25 April, and the violin and valise would have been in Halifax, NovaScotia, until their return to Maria Robinson.The evidence unearthed by the group appears to showthat Hartley put the violin inside a leather valise, which he then strapped to his body before the shipsank. The monogrammed valise, still containing the violin, was discovered by Robinsons sister uponher death in 1939. Since then it has been in the hands of a succession of private owners, before beingbrought to the auctioneers attention

Stolen Stradivari recoveredBulgarian police may have tracked down the 1696 violin taken in 2010

Police in Bulgaria believe they have recovered the 1696 Stradivari violin (left)that was stolen from a London sandwich bar in 2010. Undercover detectives inSofia were offered a Stradivari for 250,000 in a sting operation on HristoVarbanov, a Roma mafia crime boss. The instrument, valued at 1.2m at thetime of the theft, belongs to Korean-born violinist Min-Jin Kym. It was takenby Irish traveller John Maughan, working with two teenage accomplices, whileMs Kym was on the phone. As well as the Stradivari, the trio got away withtwo bows one a Peccatte and the other made by the school of Bazin whichtogether were valued at 67,000. The fate of the bows has has not yet beenreported. Maughan was arrested in March 2011 and jailed for four and a half

years for the crime. At his trial, it was revealed that he had tried to sell theinstrument (bought by Kym in 2000 for 750,000) to a man in an internet caffor 10. At the time of Maughans arrest, investigating officer Andy Rose saidthe police believed the items could be held within the travelling communityand that it was possible they would be offered for sale within the antique ormusical trade, either in England or Ireland.


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These months birthdays:

MarchNo birthdays!

AprilNo birthdays!

Everyone:Have lots of fun with Music anyway!

Featured Artist

Maxim Vengerov

Born: August 20, 1974 - Novosibirsk, Russia (former USSR)

The Rusian born is a violinist, violist, conductor, and music pedagogue,Maxim Alexandrovich Vengerov, was born to a Jewish family with musicaltradition and took to violin naturally. His mother was the conductor of a 500-

voice choir. As a four-year-old he began practice after dinner and kept goinguntil he was too tired, then went outside and rode his tricycle to wind down,usually by 3 a.m. His father decided to find the best available teacher, and took

him, without appointment, to Galina Turchaninova who, oddly, greeted them by saying, "Oh, I'vebeen expecting you." She took him as a student. Before the first lesson Turchaninova realized a caseof mistaken identity had occurred: she thought Maxim was a boy the director of the Conservatory hadsent over, who never showed up. Turchaninova was a very strict teacher, and the boy at one pointrefused to play a note for five straight lessons. She called Maxim's mother in to inform her she wasdismissing him as her student. When his mother broke down in tears, Maxim realized he had donewrong, picked up his violin, and played 17 assigned pieces from memory; he had been practicingthem even though he had not been playing them. "Very well," said Turchaninova, and agreed to

continue his lessons. "A violinist like Maxim is born only once in a hundred years."When Maxim Vengero was 7 the government gave permission for the family to move to Moscowwhere he could be enrolled in the State's top school for talented musical children. His technique wasfully polished before he was 10; from them on he needed only to study musical and interpretiveissues. He studied with Zakhar Bron, another great teacher, and practiced seven hours a day. 1984saw the 10-year-old Maxim go abroad for the first time; in Lublin, Poland, he won the first place atthe International Karol Lipiski and Henryk Wieniawski Young Violin Player Competition (years

later, he recalled, "I thought Poland was somewhere at the end of the world. One does not forget suchtrips; no wonder I always remember Poland very fondly"). He immediately had concertengagements in Russia and even with western European orchestras such as the ConcertgebouwOrchestra Amsterdam and the BBC Philharmonic Orchestra. His Moscow debut was in 1985. When

Bron left Russia in 1987 to teach at the Royal Academy of Music (RAM) in London, Vengerov andhis mother followed him there, and did so again after Bron moved to Lbeck to open a school there.Vengerov first appeared in Germany in 1987, and in London in 1989. He won the prestigious CarlFlesch Competition (named after one of the great violin pedagogues) in 1990, and first appeared inNew York with the New York Philharmonic Orchestra in 1991. In 1990, Vengerov proved hisextraordinary talent with victory at the International Carl Flesch Competition in London.Widely regarded as one of the world's most dynamic artists, Maxim Vengerov has performed sold outconcerts with the world's most eminent orchestras in every major city in the world. Steeped in thecelebrated Russian tradition of music making, He enjoys international acclaim as a musician of thehighest order, tireless in his search for new means of creative expression. In an age where bright,attractive, and talented young violinists seem to emerge as often as new hybrid roses, Vengerov is a


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remarkable standout. His public appearances - both solo and with orchestras - at major Europeanmusic venues sparked interest of major record labels (to date, he has recorded close to 100compositions or cycles) and music magazines.In 1995, Maxim Vengerov released his recordings of the Dmitri Shostakovich and Prokofiev FirstViolin Concertos on the Teldec label. This disc was Best Concerto Recording and Best Record of theYear in the Gramophone Awards, was nominated for two Grammy Awards, and represented an earlycollaboration with his favorite conductor, Mstislav Rostropovich. He has followed that success withmany other recordings, including sequel to his prize winning release, the Second Violin Concertos ofD. Shostakovich and Prokofiev, which won the equally prestigious Edison Award in 1997. He hasalso won awards as Gramophone Young Artist of the Year and the Ritmo Artist of the Year in Spain.The highly prestigious Echo Klassik annual distinction awarded to him by the German Television

in 2003 (for recital featuring compositions by J.S. Bach).Maxim Vengerov was named in 1997 as the Envoy for Music of the United Nations' Children'sEmergency Fund (UNICEF), the first classical musician to be so appointed, and has met andperformed for children in such places, as Uganda, Thailand or Kosovo, and helped raise funds forUNICEF assisted programs. Playing by Heart, a Channel 4 production about the virtuosos meetings

with young musicians during his master classes, which was shown at the Cannes Festival in 1999,enjoyed tremendous popularity throughout the world. In 1997, he was asked by conductor KurtMasur to play the season's opening concert of the New York Philharmonic Orchestra. Contacts withMstislav Rostropovich, Daniel Barenboim or Vag Papian, as well as performances with the worlds

most famous orchestras, like the Concertgebouw Orchestra Amsterdam, the BBC PhilharmonicOrchestra or the Chicago Symphony Orchestra, exerted profound influence upon Vengerovs artistic

progress and development of his musical skills. The artist took a two-year course in the Baroqueviolin and repertoire of the epoch, and has played Baroque violin in recitals with harpsichordistTrevor Pinnock.. However, he does not restrict himself to the violin alone; the viola, jazzimprovisation, dance, and conducting have caught his attention.In May 2000, after a ten-year exclusive contract with Teldec, Maxim Vengerov signed with EMI,receiving many prestigious awards and nominations including Grammy Award and GramophoneArtist of the Year. He released on EMI Rodion Shchedrin's Concerto Cantabile (which was writtenfor him) with Rostropovich conducting. Vengerov was an Edison Award winner and Grammy Awardwinner in 2004 for Best Instrumental Soloist Performance (with Orchestra) for the Benjamin Britten:Violin Concerto/William Walton: Viola Concerto Album released on EMI Classics. He toured theFar East and Europe until the end of 2004 with a new programme of Virtuosi pieces, a programmewhich was also recorded and released by EMI. Since 2005, Maxim Vengerov has been Professor atthe Royal Academy of Music in London. During a sabbatical year in 2007, Vengerov was the subjectof the film Living the Dream, directed by Ken Howard, for ITV's South Bank Show, in which herevisited his birthplace in Novosibirsk and played viola and danced tango with Christiane Palha forthe premiere of Benjamin Yusupov's Concerto for Viola. Living the Dream was also issued as anEMI DVD which won the BBC Music Magazine Award for Best DVD documentary 2008.From 2008 to 2012, Maxim Vengorov performed only infrequently in public on violin, havingsuffered an exercise injury that affected his playing. During that time, he devoted himself extensivelyto conducting. In March 2012, he gave his first performance in London in four years, replacing an

indisposed Martha Argerich at a concert with Yuri Temirkanov and St. Petersburg PhilharmonicOrchestra. In April 2012 he gava recital at Wigmore Hall in London, which was to be his comebackrecital in London.Recently, Maxim Vengerov has also renewed and consolidated his ties with Poland. He has beenperforming with the Sinfonia Varsovia, the Sinfonietta Cracovia and the Polish Baltic Philharmonic.In October 2006, his concert with the Sinfonia Varsovia conducted by Andrey Boreyko closed the13th International Henryk Wieniawski Violin Competition in Pozna. In October 2011 he was thechairman of the jury at the 14th edition of the competition. In October 2012, after his recital with apianist Vag Papian at Adam Mickiewicz University Auditorium in Pozna, Vengerov signed a

contract appointing him the Chairman of Jury of 15th International Henryk Wieniawski Violin


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Competition in 2016. He regularly serves on other juries, most recently at the Yehudi MenuhinViolin Competition and the Donatella Flick Conducting Competition.Having reached the pinnacle of the musical world as an instrumentalist, Vengerov followed in thefootsteps of his mentor, the late Mstislav Rostropovich and turned his attention to conducting,bringing his sensitivity and keen musicianship to the podium. He took his first conducting classesfrom Professor Vag Papian, who himself studied with the legendary Ilya Musin in St. Petersburg.made his conducting debut with the English Chamber Orchestra. At the invitation of Valery Gergiev,Vengerov has conducted the Mariinsky Theatre Orchestra, earning accolades both from the criticsand the public. Over the past few seasons, he has developed close relationships with Verbier FestivalOrchestra, Bergen Philharmonic, Sinfonietta Cracovia, et al. Vengerov's Carnegie Hall debut as aconductor, which took place during the 2007 Verbier Festival Orchestra tour of North America,received critical acclaim. "The musicians responded magnetically to him", wrote Vivien Schweitzerof The New York Times. In September 2008 he was invited by the BBC to conduct the BBC ConcertOrchestra and be a member of the jury in the Maestro Series, a programme designed to give generalpublic an insight into the fascinating profession of a conductor.Hungry for experience that lies outside a standard track record of a musical prodigy, MaximVengerov has let himself be inspired by many different styles of music, including Baroque, jazz androck. He has taken the time to learn how to tango and premiered Benjamin Yusupov's Viola TangoRock Concerto, exploring the physicality of music and making a powerful statement about thediversity of cultural influences in the 21st century.Along with Rostropovich and Gergiev, Maxim Vengerov counts Daniel Barenboim among hismentors, not only from the purely musical point of view but also in terms of their commitment tophilanthropy, education and talent development. Vengerov enjoys creative partnerships andfriendships with some of the most prominent instrumentalists, such as Ida Haendel, Joshua Bell andAlexander Toradze, to name but a few. At the same time, he makes it a point to feature youngpromising soloists who benefit greatly from his extensive experience and rare generosity. Educationalactivities such as music forums, lectures and conferences are an integral part of Maxim Vengerov'swork. He holds Honorary Professorships from many top conservatories around the world, includingthe Royal Academy of Music in London.Since 2007 Maxim Vengerov has been an Ambassador for Zegna & Music project, which wasfounded by the luxury men's clothing label Ermenegildo Zegna in 1997 as a philanthropic activity topromote classical music. Vengerov is a patron of the MIGDAL Project in Northern Israel designed togive disadvantaged children a chance to learn how to play a musical instrument and to improvise inclassical and ethnic styles, harnessing the healing power of music and promoting humanitarian andcultural values. Vengerov also supports the MIAGI Project in South Africa, which connects childrenof different ethnic backgrounds through music.There are many exciting projects in store for the next two seasons, including a North American tour(Toronto Symphony Orchestra, Montreal Symphony Orchestra, etc), a Russian tour with the MoscowPhilharmonic Orchestra, a series of performances with Kammerorchester Basel and a conductingdebut with the Jerusalem Symphony. Vengerov will return to the Bucharest Philharmonic Orchestra,the Swedish Radio Symphony Orchestra, and the Oslo Philharmonic Orchestra. He will also make hisdebut with the Moscow Virtuosi in Moscow and St. Petersburg. His programmes will feature works

by Mozart, L.v. Beethoven, Felix Mendelssohn, Johannes Brahms, Bruckner, Tchaikovsky,Prokofiev and Dmitri Shostakovich.In November 2011, Maxim Vengerov married Olga Gringolts, sister of the violinist Ilya Gringolts.Since the earliest stages of his career, he has been playing various Stradivari instruments; especiallythe 1727 "Reynier" Stradivarius, and at present. In 2000, with the aid of Mrs. Yoko Nagae Ceschinawas able to purchase the famous "ex-Kreutzer" Stradivarius. He uses Jascha Heifetz's bow. He nowmakes his home in Israel.


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Recommended listening:Maxim Vengerov plays:

Waxman - Carmen Fantasy

http://www.youtube.com/watch?v=yfHA7Qqs97o Ysaye - Caprice d'apres l'Etude en forme de Valse de Saint-Saens

http://www.youtube.com/watch?v=LfiGrkCQF7kWieniawski - Variations on an Original Theme

http://www.youtube.com/watch?v=EuDHk-8LUZo Waxman - Carmen Fantasyhttp://www.youtube.com/watch?v=yfHA7Qqs97o Ysaye - Caprice d'apres l'Etude en forme de Valse de Saint-Saens

http://www.youtube.com/watch?v=LfiGrkCQF7kWieniawski - Variations on an Original Theme

http://www.youtube.com/watch?v=EuDHk-8LUZo

and of course Heifetz!

Debussy La fille aux cheveux de lin

http://www.youtube.com/watch?v=U_Uwvh2scyA Jascha Heifetz and William Primrose play Handel's Passacaglia, arranged by Johan Halvorsenfor violin and viola.

http://www.youtube.com/watch?v=HUF9neEN81I

Finale

You can download this edition of JLNotes with direct links to various sites referred above from ourwebsites: www.musicinsummer.com www.lakirovich.com

http://www.facebook.com/MusicInSummer

SUMMER SCHOOL FOR PERFORMING ARTSIN

CREMONA, ITALY

PLEASE DONT FORGET TO REGISTER!!!

Should you have any comments or suggestions please send me e-mail at:[email protected] or call on: 905-882-7499, 416-735-7499

79 Chagall Drive, Thornhill, Ontario L4J 9B8 Canada
http://www.youtube.com/watch?v=yfHA7Qqs97ohttp://www.youtube.com/watch?v=yfHA7Qqs97ohttp://www.youtube.com/watch?v=LfiGrkCQF7khttp://www.youtube.com/watch?v=LfiGrkCQF7khttp://www.youtube.com/watch?v=EuDHk-8LUZohttp://www.youtube.com/watch?v=EuDHk-8LUZohttp://www.youtube.com/watch?v=yfHA7Qqs97ohttp://www.youtube.com/watch?v=yfHA7Qqs97ohttp://www.youtube.com/watch?v=LfiGrkCQF7khttp://www.youtube.com/watch?v=LfiGrkCQF7khttp://www.youtube.com/watch?v=EuDHk-8LUZohttp://www.youtube.com/watch?v=EuDHk-8LUZohttp://www.youtube.com/watch?v=U_Uwvh2scyAhttp://www.youtube.com/watch?v=U_Uwvh2scyAhttp://www.youtube.com/watch?v=HUF9neEN81Ihttp://www.youtube.com/watch?v=HUF9neEN81Ihttp://www.musicinsummer.com/http://www.musicinsummer.com/http://www.lakirovich.com/http://www.lakirovich.com/http://www.facebook.com/musicinsummerhttp://www.facebook.com/musicinsummermailto:[email protected]:[email protected]:[email protected]://www.facebook.com/musicinsummerhttp://www.lakirovich.com/http://www.musicinsummer.com/http://www.youtube.com/watch?v=HUF9neEN81Ihttp://www.youtube.com/watch?v=U_Uwvh2scyAhttp://www.youtube.com/watch?v=EuDHk-8LUZohttp://www.youtube.com/watch?v=LfiGrkCQF7khttp://www.youtube.com/watch?v=yfHA7Qqs97ohttp://www.youtube.com/watch?v=EuDHk-8LUZohttp://www.youtube.com/watch?v=LfiGrkCQF7khttp://www.youtube.com/watch?v=yfHA7Qqs97o

JLNotes 2013 March-April

Documents

Transcript of JLNotes 2013 March-April