Violin Practice with Tonic | Ray Chen teaches Wieniawski Violin Concerto No. 1

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Ray Chen discusses about articulation and technique in Wieniawski Violin Concerto No.1. Learn how to efficiently practice these tricky passages in this masterclass.
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[@sabrinai]

Love the first wieniawski, especially Ray's recording on youtube of course!!! ❤️

[@cordulas2948]

That is very very difficult to play, and it is much of faith to play it ! Good 👍👍👍

[@KimViolinistWannabe]

Daamn so good

[@alandeutsch9987]

I think he should play closer to the bridge

[@oudandviolen9092]

The tonic app isn't opening .. *tonic app has stopped*... anyone has the solution for it

[@rec2you]

👍

[@jeppgd5183]

Such a shame, that such a well known violinist isn’t able to or doesn’t focus on anything musical, only stops to check notes or help with technical passages and just completely went over the entire musical aspect.

[@roiehay7547]

what is musical about wieniawski all the concerto is just pointless scales. he did right to focus on the technical side this is not shostakovich or brahmes

[@stale.baguette]

@@roiehay7547 It’s a virtuosic showpiece, it’s supposed to be technical. But I’d argued it still has musicality, It’s just hard to get out because of the difficulty. A true master can show the musical side. And Ray was talking about musicality. Stuff like articulation which he talks about is musicality.

[@amandas.6500]

I think musicality comes after you master the technicality.

[@violintegral]

@@roiehay7547 you'd be surprised, there's a lot you can do musically with a virtuoso piece such as Wieniawski's 1st concerto. Very few violinists get it right because they only focus on the technical demands of the piece. Virtuoso showmanship requires much more than just sheer technical perfection. It requires a different type of musicality than that of, for example, Brahms or Beethoven. You have to know how to balance and build intensity, drama, and lyricism, all of which this piece is full of. I just wish Heifetz and Kogan recorded it...

[@jeppgd5183]

Respond to Roie, Stale and Amanda: it’s impossible to make an „unmusical“ piece. There are of course better and worse composers, but every single piece there exists you can more or less beutiful, or more and less convincing. Music consists of frases, articulations and others varieties. You always have to work with how are you gonna make these frases work the best, make something special that makes others convinced. You always have to find contrasts and find out which notes are more important than others, there’s a reason why some musicians are better than others, they both what music is, and thereafter they know how to play exactly that way. That also means music comes before technique. Nobody wants to here somebody only play right notes, but just play one dynamic through it all or play without frasing. You always have to start asking, how should this sound, and thereafter practice how you get exactly that sound. And lastly talking about articulation making Ray musical. That was first of all the only thing he mentioned other than technique, but also music is more than just having noted in your score “this note is portamento”, music is about being able to listen to every single detail you make throughout the whole piece from small to big, so you’re able to make something your own, and you’re also able to hear what makes a passage beautiful and which way can i support it in being beautiful or dramatic or sad. I feel like more and more musicians are loosing this type of musicality today, only focusing on playing the right notes, and then quickly mentioning a dynamic or 2 and then say it’s perfect, even though we know it’s not perfect because Heifetz could probably play it better. But they don’t get to learn what made him better, so they just accept in sadly