a
search Sex%20i%20badestamp esearch% Youtube 0search%0searchasearchesearchtsearchm
Sex%20i%20badestamp od
o
k Youtube ns Goodlookingstrippedsingers r Goodlookingstrippedsingers pe Youtube s Sex%20i%20badestamp n Sex%20i%20badestamp esearchs% Sex%20i%20badestamp Yu Sex%20i%20badestamp u Youtube e Youtube 0 Youtube e Goodlookingstrippedsingers r Sex%20i%20badestamp h Sex%20i%20badestamp Sex%20i%20badestamp e Youtube % Sex%20i%20badestamp 0i%search0searchadsearchsta Sex%20i%20badestamp p Goodlookingstrippedsingers 0 Goodlookingstrippedsingers Y
u Sex%20i%20badestamp u
esearchat Goodlookingstrippedsingers Y Goodlookingstrippedsingers utsearchbsearch search exsearch2 Goodlookingstrippedsingers isearch20 Youtube ad Youtube s Sex%20i%20badestamp a Sex%20i%20badestamp p Youtube Sex%20i%20badestamp e Goodlookingstrippedsingers r Youtube h
Sex%20i%20badestamp hsearchb Sex%20i%20badestamp u Sex%20i%20badestamp , Georges Enesco, Fritz Kreisler, Mathieu Crickboom and Manuel Quiroga. "They were incredible musicians in their own rights -- they all had personalities," Tai said. Knowing something about those musical personalities helps one know how to approach the Sonata."Then on top of all this, by the time he was writing these, he couldn't really play any more," Tai said. Ysaÿe had a host of medical problems, including severe diabetes. "Somehow he was able create all this incredible violin writing, and he couldn't necessarily do it. To me, it really shows someone who was not made bitter by his situation, but who was actually grateful that he was able to experience any of it at all. Going by all the stories that I've heard, he was a really gregarious person, really nice, always making jokes, a jolly individual. And of course, not all the moments in the sonatas are jolly. I would say it probably runs the gamut of emotions."
"The two underlying feelings that I get from these Sonatas are joy and love: Love for his instrument, love for Bach, and love for his friends," Tai said. "So it is an opus of love and expression."
Tai recorded the Sonatas on a Giovanni Tononi violin, which has been on loan to her for the last two years.
"I love it; it's an incredible violin," Tai said. "I tend to give my instruments nicknames -- the owner calls this violin 'Tony,' but I call it 'Spitfire' because it has this crackle underneath the sound, which I love."
"Spitfire" also describes its personality: "It can spit at me! Like it's saying, 'I didn't like how you approached me so I'm going to make an awful sound.' It does do that!" (she laughs)
"It's actually a very small model; it's Amati-size. And it's so old -- circa 1690! It's been through so many different set-ups, I'm sure, from the Baroque to now. Looking at it, it's hard to imagine that so much sound could come out of it. But more importantly than that, it has so many colors. It's a very expressive instrument. For me, it's physically easy to hold.
Her other violin was made by the living maker Mario Miralles of Altadena, Calif. "I've nicknamed that violin 'Honey,' because it'a a very sweet-sounding instrument. It's a very smooth instrument, and I love it. I've had since 2007, and it's a great instrument."
Tai also plays in the East Coast Chamber Orchestra (ECCO), a conductor-less ensemble based in New York, which just celebrated its 10th anniversary.
Check them out, "Allegro con spiritu" if I've ever seen it:
"Everyone kind of met separately, at festivals, or at school, or just wherever, as young musicians," Tai said. "It was the brainchild of Nick Kendall. He just thought, 'Let's meet three times a year, make music and then disband so we miss each other a whole lot.' It's so much fun. Every individual is so accomplished, so talented -- everyone is a musician's musician. So the idea that we are able to pool our resources at these specific moments in time, it's a very inspiring for me."
They also stand to perform.
"No one actually said, 'We're going to stand,' we just did!" Tai said. "It probably makes it easier for us -- because we do not have a conductor. I've noticed that, for example, someone might jiggle in the viola section, and we'll realize, 'Oh, we're getting a little slow.' There's that sort of communication, and standing makes it easier.
Here is Tai Murray, performing Ysaÿe's Sonata No. 5 ("L'Aurore" and "Danse Rustique," dedicated to Mathieu Crickboom) at Settlement Music School's Distinguished Alumni Recital in November 2010:
Here also is an interview associated with her new recording in which she talks about the Tononi violin she plays, and then she performs Sonata No. 4 (dedicated to Fritz Kreisler):
It appears that it is recital season once again - everyone facing down their performance fears, trying to perfect what they worked on for months, fearing what *could* go wrong.
Sunday, the group I play with (a string trio) did the same. The morning of our recital, our violinist went into labor.
Our 'emergency back-up sub' practiced with us for 30 minutes just 2 days prior when our regular violinist started thinking that *maybe* she would not make it to Sunday, and then once more 15 minutes before the recital started. Pressure? Yup! But being the pro that she is, jumped into the hot-seat and did the most amazing sight-reading I've ever heard.
Our violinist gave birth to a baby girl, 5.5 lbs, 3 hours after the recital ended.
I won't mention that our 'emergency back-up sub' was also pregnant.
After waiting with much anticipation the Queen Elisabeth finals, the two performances of this first evening were quite disappointing for me.
While Josef Spacek has a big, warm tone, his performance tonight was not memorable in any way: from his Prokofiev sonata in F minor which lacked in color and atmosphere, to his Sibelius concerto which sounded opaque and had some innovative rhythms introduced by Spacek in the leaping octaves passage on the last page.
Emir Abeshi did not give the impression that he really understands what Prokofiev's second violin sonata is all about. The first movement was bland, with none of the flute-like lightness and wittiness that should have been there; the second movement was fast to the point that it seemed to surpass Emir's technical abilities; the third lacked its magic and its ending seemed rather like a mistake than a conclusion while the finale was just loud and forced.
Emir really seemed to come apart in Tchaikovsky's concerto. His first solo intervention was painfully insincere and then intonation, quality of sound, sense of rhythm, all started to collapse all around. I am sure fatigue and stage fright do not help but throughout so many editions, many other competitors struggled with the same vicissitudes with more success.
I am still to understand - maybe helped by other competitors - why Sakai Kenji's concerto won the composition competition. It just seems a struggle between the solo violin and the full blast of the brass section aided by the rest of the orchestra. What's the point?
I hope for a better day tomorrow.
Here's part 2 of 4 of a long essay on turn-of-the-century violin prodigy Vivien Chartres and her famous author mother Annie Vivanti. Part 1 is aGoodlookingstrippedsingers U Sex%20i%20badestamp Youtube It 1 Good Looking Stripped Singers Violin Blogsk r Good Looking Stripped Singers gGoodlookingstrippedsingers U Sex%20i%20badestamp Youtube It 1 Good Looking Stripped Singers Violin Blogsi q d d Good Looking Stripped Singers Good Looking Stripped Singers Mobile