• Started learning Mazurka Dudziarz (Wieniawski, 1879) for assessment

• Caroline suggested fingering and we went through the notes slowly

• Discussed bow hold and wrist flexibility ease bow changes and improve technique

• Caroline suggested opening up as I play and extending through shoulders

25^th November:

• Focused on transitions in Wieniawski, creating different characters for sections

• Recapped setting up correctly, ensuring bow hold and posture is correct to start

• Bowing exercises on open strings helped with technique and trying to manipulate wrist to invert on down bows

2^nd December:

• Fine-tuned intonation in Wieniawski, learning easiest way to get up there

• Started learning Nigun (Bloch,1924)      

• Scalic exercises in School of Violin Technique Op.1 Book 3 (Sevcik, 1986) helped combat fingered octaves in Bloch

• Caroline suggested more force with bow to produce richer sound

18^th December:

• Timed Wieniawski and it was 20 seconds under

• Discussed ways to lengthen stylistically. Utilising ritenutos, pauses and breath, we extended the length

• Caroline offered fingerings for string crossings in Bloch, to attain clearer sound across strings

• Sevcik exercises dealt with scales on each string, applicable to sul G parts in Bloch

7^th January:

• Ran Wieniawski with Caroline playing accompaniment

• Practiced necessary communication with piano to ensure each section starts together and tempo changes are in time

• Discussed technique to correct bowing arm. Technical exercises like fast string crossings emphasised wrist movement

• Focused on shifting smoothly to improve right-hand flexibility and shifting down in two movements, thumb then wrist

• Started by looking in mirrors and adjusting my left wrist, enabling flexibility. However, it proved challenging to make a decent sound and I subconsciously kept returning to old habits

• Practiced Scales for Advanced Violinists, (Barber, 1994) ascending by semitone each day. Allows practice of different scales and double stops to aid intonation

• Familiarised with the Wieniawski, incorporating bowing and fingering. I felt happy with my progress but my intonation wasn’t always consistent with higher E-string leaps in A sections. Therefore, I practised slowly to feel where those notes were and increase probability of accuracy

25^th Nov-2nd Dec:

• Started by adjusting wrist positioning in mirror, however was still difficult to maintain and I often returned to old ways, forcing myself to reset

• Practised bowing exercises on open strings to manipulate right hand. Whilst up-bows were improving and gaining flexibility, it felt unnatural to invert my hand on down-bows

• Attempted to capture stylistic nuances of Wieniawski including increasing variation between sections and casting attention to musical details, creating further interest

2^nd-18^th December:

• Practised fingered octaves in Sevcik exercises to learn hand shapes for accurate intonation in the Bloch. Whilst initially challenging, after practising consistently my hand started responding more accurately

• I focused on achieving richer, clearer sounds to improve tonal quality in the virtuosic opening. However, by incorporating correct bowing technique, this was harder to achieve as I have adapted so firmly. I tried adjusting my bow hold in several ways but this felt less controlled and lack of strength and flexibility prevented the sound I wanted

• For Wieniawski, I neatened corners, acknowledged musical interest and improved intonation. I recognised some progress which allowed me to increase tempo

18^th Dec-7^th Jan:

• Practised Sevcik scales on one string to apply to sul G passages in the Bloch. These were challenging, especially on G but after slow practise it improved

• Practised different methods to lengthen the Wieniawski tastefully. Previously, I frantically rushed but adding sensitivity and space created balance

• Taking time in transitions and using rubato for Romantic effect extended time and enhanced character

7^th Jan-now:

• 42 Etudes for Violin (Kreutzer, 2001) practised string crossings whilst focusing on wrist movement rather than arm but I still struggled creating wrist movement, only achieving this extremely slowly

• Sevcik exercises of scales on one string practised smooth shifting, important for intonation for sul G section in the Bloch

• Focused on awareness of relationships between violin and accompaniment in the Wieniawski and recognising where communication is necessary.

• I felt happier about portraying stylistic elements and character in it

The following piece, Nocturne in F major (Schumann,1834) was played beautifully. The melodic phrasing was tasteful and every note had purpose. Any repetition held different intentions and contrasts were created stylistically to keep the audience engaged. Clara Schumann is often overshadowed by her husband but you could hear the sensitivity and intelligence of her music and it felt very natural. With Clara Schumann credited as the first soloist to perform from memory (Kopiez, Platz and Wolf, 2017), it felt fitting that Will Bracken did the same, and was the only performer in the concert who did.

My favourite piece was Adoration (Price, 1951), arguably the most beautiful of the pieces. Although Price originally wrote it for organ, it was performed on violin and piano, creating a warm, romantic feeling. The lyrical melody was very moving, appealing to its emotional title.

The main aspect I will be taking away from these performances was the ensemble communication and adding thought into every note I play. Furthermore, I will strive to listen to more female composers and familiarise with their works. This concert gave me insight into how many compositions are lesser-known because of a general reluctance for them to be performed but by spreading this music, their works become rediscovered and appreciated as they previously were.

Cziffra Psodia (Eotvos, 2021) followed, a piano concerto at its English premiere. Soloist, Janos Balasz is a Hungarian musician, which created a sense of authenticity. His technicality and musicality was impeccable. This piece was dedicated to Hungarian composer, Georges Cziffra and acts as his biography, narrating his tragic life (Eotvos, 2021). There are many personal details within the piece and Balasz demonstrated this sensitively and emotionally taking the audience on this journey.

Finally, Brahms’ Symphony No.2 (Brahms, 1877) was a really exciting piece. The variation in movements kept the music alive and the three-note melodic line in the first movement formed a thematic foundation for the entire symphony (Mangum, n.d.). This allowed a digestible melody to develop whilst also enabling the musicians creative expression. With Brahms’ frequent tutti uses, the full orchestral sound was impressive and it was evident that all performers were playing to their fullest by the way they held themselves whilst playing.

The main teaching I took from this concert was to always put in maximum effort, because when achieved collectively, the unity of sound is undoubtedly worth it. It has also made me consider the emotional journey and historical contexts of pieces I play so I can incorporate this and tell the story accurately.

Performers: Emily Ho, Jess Townson, Eddie Henning, Alistair Caiger, Neel Collin

Roles:

• Assistants: Jodie Stace and I

• Manager: Arthur Chan

• Coordinator: Lewis Livingstone

By wearing black, we assumed a level of professionalism like performers. My role included folding programmes, welcoming audience members into the hall and giving them programmes

Barber, B. 1994. Scales for Advanced Violinists. [Score]. Los Angeles: Warner Bros. Publications Inc

Berlioz, H. 1901. Le carnival romaine. [Score]. Leipzig: Breitkopf und Hartel

Bloch, E. 1924. Nigun from Baal Schem B.47. [Score]. New York: Carl Fischer

Blumhofer, J. (2017). Farrenc- Trio for Flute, Cello, and Piano. Online: Jonathon Blumhofer. Available at: https://www.jonathanblumhofer.com/writings/program-notes/farrenc-trio-for-flute-cello-and-piano/ Accessed: 30^th November 2024

Brahms, J. 1877. Symphony No.2. [Live performance]. Royal Philharmonic Orchestra. 28^th November 2024, Cadogan Hall, London

Eotvos, P. 2021. Cziffra Psodia. [Live performance]. Janos Balasz and Royal Philharmonic Orchestra. 28^th November 2024, Cadogan Hall, London

Eotvos, P. (2021). Cziffra Psodia premiere. Online: Peter Eotvos. Available at: https://eotvospeter.com/cziffra-psodia-premiere/ Accessed: 1^st December 2024

Farrenc, L. 1857. Trio for flute, cello and piano in E minor Op.45. [Live performance]. Amy Yule, Rebecca Gilliver and Sophia Rahman. 22^nd November 2024, LSO St Luke’s, London

Glazunov, A. 2005. L’automne. [Score]. Leipzig: Belaieff

Kopiez, R, Platz, F and Wolf, A. (2017). Small Influence of Performing from Memory on Audience Evaluation. Ohio: EMR

Kreutzer, R. 2001. 42 Etudes (Caprices) for Violin. [Score]. Leipzig: Edition Peters

Magnum, J. (N.d). Symphony No.2. Online: Los Angeles Philharmonic. Available at: https://www.laphil.com/musicdb/pieces/3936/symphony-no-2 Accessed: 3^rd December 2024

Price, F. 1951. Adoration. [Live Performance]. Claire Duckworth and Sophia Rahman. 22^nd November 2024, LSO St Luke’s, London

Prokofiev, S. 1935. Lieutenant Kije Suite. [Score]. Paris: Gutheil

Runyan, W.E. (2015). Overture to the Bartered Bride. Online: William E. Runyan. Available at: https://www.runyanprogramnotes.com/bedrich-smetana/overture-bartered-bride Accessed: 1^st December 2024

Schumann, C. 1834. Nocturne Op.6 No.2 in F major. [Live performance]. Will Bracken. 22^nd November 2024, LSO St Luke’s, London

Sevcik, O. 1986. School of Violin Technique Op.1 Book 3. [Score]. New York: Schirmer

Sibelius, J. 1905. Finlandia. [Score]. Helsinki: Fazer & Westerlund

Smetana, B. 1866. The Bartered Bride: Overture. [Live performance]. Royal Philharmonic Orchestra. 28^th November 2024, Cadogan Hall, London

Wieniawski, H. 1879. Dudziarz from 2 Mazurkas Op.19. [Score]. Mainz: B. Schott’s Sohne