There are still a few glitches, like a mystery 12 seconds of black at the beginning and a less than pristine set, but all in all, I think it’s worth posting, and I’ll make improvements on the second installment. The thing is small on the screen, and I’m still experimenting with the size and format, but at least I got 20 minutes of content in less than 50 MB. My thoughts on the next one: hopefully I’ll have a lapel mic so I don’t sound like I’m in a dungeon, and I will then be able to offer it as a podcast OR blogcast.

EDIT: If you get an “unavailable” message, please try again after 4pm PST, when I will reload the movie.

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7 thoughts on “Haydn C major, part 1”

  1. FIRST time blogger (well, comment poster, not really blogging) – you know, there’s only one first, right? WONDERFUL insights into playing this piece! Your points re: “playing where the bow takes you”, playing “robust” – great stuff! I only got to listen to the first 5 minutes (tis late here on the east coast, and, embarrassing as it is too admit, I’ve been online reading your entire blog – at least back from bow hold month). Plus, as a beginning student playing less than a year, I’m insanely envious of your students that are at the level where they can begin to tackle this piece. But hope springs eternal, right? Anyway, hello from Northern Virginia, you have an amazing blog going here, can’t wait to see your lesson on CD, post about how Grey is doing, and . . . . let’s see . . . . I think that’s all I’ve got for the moment!
    🙂
    Brian

    Reply
  2. Thank you for the kind words! I’ll post a little about Grey, and the new grey cat in our lives: Lucy.

    I may be in the DC area soon, and if I am, I’ll be sure to let you know and we can sort a lesson out, if you’re available.

    Now..where’s your blog?

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  3. Great job Emily! I am not ready to tackle Haydn but I really enjoyed your video / lesson. As to be expected – you are dropping some great nuggets of wisdom that reinforce some things I have been taught over the last 18 months or so (bow movement management, repetition, tension and bowing results, trash truck distractions, etc..). There are some “firsts” I in your video that I took notes on:

    1. Regarding character of any given passage, keep the fingering intense even when the bowing is not. That is pretty sweet advice. I cannot count the number of times that I listening to various artists and I can hear the strings hitting the boards. I point it out to people that may be listening to it with me and they could care less.

    2. You mention a rule regarding placement of the bow in relation to the bridge as you move up the finger board. As I start to play more music that require higher positions I will keep this in mind.

    The section at the beginning of the video on chords was interesting as well. I have some more thoughts on this as I am “flirting” with Bach’s Suite for Cello #3 in C Major BWV 1009 V.Bouree I (behind my instructor’s back). This is the first piece I have attempted where I get to play chords – so I am wondering if what you stated in the video is applicable to chords in general, a specific genre, or just the Haydn Concerto in C (which I absolutely love).

    I feel like I need to pay you – great stuff!

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  4. Awesome!

    The only thing mildly unclear (due to video size) was the bit about curiving the first finger w/ the thumb doublestops … but I realized that that was something I had talked about with my teacher, so I figured out what you meant.

    Otherwise, these are all perfect tips, and most of them are things I struggled with when I was working on this piece … at some point, I’m gonna go back and really re-work it.

    My favorite part was the bit about playing softly w/ the bow, but forte w/ the LH … something I used to know and just rediscovered as recently as last night. … I really need to start blogging regularly again…

    I’m going to see Steven Isserlis give a masterclass today – can’t wait!

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  5. I especially appreciate the encouragement that those chords take weeks of consistent practice to even feel comfortable, let alone to be in tune and played well. I keep giving up too early in discouragement. No practice, no progress, I guess.

    It’s hard to continue practicing when I don’t hear progress, though. What if I’m playing it wrong? Will incorrect practice make it permanently bad? That’s my private neurosis.

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  6. I liked your comment about Haydn being a reward… but I’m wondering when exactly do you determine that a student is “ready to get serious” 😉

    Thanks for the mini-lesson.

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  7. Emily – Great stuff! I haven’t been blogging much because I haven’t really been practicing much!!! ugh – I miss it but once you start the habit of missing practices, it snowballs. I need to find the groove again.

    I found this video very helpful. This is making me feel like picking up the Haydn again. Thanks for posting.

    Reply

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