黄安理小提琴

只要學用得法，學習四年就能拉《查爾達什》並考過RCM八級

2025-07-20T18:47:00.000-07:00

Jeremy 能用功學習，他在成功演出了維瓦爾第的A小調協奏曲的一年後，高分考過RCM的八級考試並與樂隊演出了蒙蒂的名曲《查爾達什》

RCM 出版的考试选曲级（2021年版）

2021-11-22T11:04:00.004-08:00

RCM 出版的考试选曲级（2021年版）

在SheetMusicPluss上

入门级

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Violin Repertoire Preparatory, 2021 Edition Composed by The Royal Conservatory. Repertoire. Violin Series. Book and online audio. The Frederick Harris Music Company #VLR00. Published by The Frederick Harris Music Company (FH.VLR00).

一级

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Violin Repertoire 1, 2021 Edition Composed by The Royal Conservatory. Repertoire. Violin Series. Book and online audio. The Frederick Harris Music Company #VLR01. Published by The Frederick Harris Music Company (FH.VLR01).

二级

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Violin Repertoire 2, 2021 Edition Composed by The Royal Conservatory. Repertoire. Violin Series. Book and online audio. The Frederick Harris Music Company #VLR02. Published by The Frederick Harris Music Company (FH.VLR02).

三级

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Violin Repertoire 3, 2021 Edition Composed by The Royal Conservatory. Repertoire. Violin Series. Book and online audio. The Frederick Harris Music Company #VLR03. Published by The Frederick Harris Music Company (FH.VLR03).

四级

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Violin Repertoire 4, 2021 Edition Composed by The Royal Conservatory. Repertoire. Violin Series. Book and online audio. The Frederick Harris Music Company #VLR04. Published by The Frederick Harris Music Company (FH.VLR04).

五级

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Violin Repertoire 5, 2021 Edition Composed by The Royal Conservatory. Repertoire. Violin Series. Book and online audio. The Frederick Harris Music Company #VLR05. Published by The Frederick Harris Music Company (FH.VLR05).

六级

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Violin Repertoire 6, 2021 Edition Composed by The Royal Conservatory. Repertoire. Violin Series. Book and online audio. The Frederick Harris Music Company #VLR06. Published by The Frederick Harris Music Company (FH.VLR06).

七级

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Violin Repertoire 7, 2021 Edition Composed by The Royal Conservatory. Repertoire. Violin Series. Book and online audio. The Frederick Harris Music Company #VLR07. Published by The Frederick Harris Music Company (FH.VLR07).

八级

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Violin Repertoire 8, 2021 Edition Composed by The Royal Conservatory. Repertoire. Violin Series. Book and online audio. The Frederick Harris Music Company #VLR08. Published by The Frederick Harris Music Company (FH.VLR08).

祝贺 Jeremy 与乐队登台演出成功!

2018-01-01T10:03:00.000-08:00

祝贺 Jeremy 与乐队登台演出成功!
六岁的他学琴不到三年，但是能够在台上镇定的演奏下来很不容易, 要知道维瓦尔第这首六级的协奏曲他跟乐队只是排练了一次呢！

半年前他还不能够跟大哥哥大姐姐们一起拉齐奏,只能够跟着拉一首<奇异恩典>

最重要的是自己喜欢,再加上勤加练习,谁都能够做到!

Stradivarius Violins Aren’t Better Than New Ones: Round Two

2014-04-08T08:16:00.001-07:00

A Stradivarius on exhibit at Palacio Real de Madrid. Credit:Håkan Svensson

by Ed Yong

This June, Sotheby’s will be auctioning off the Macdonald viola, created in 1719 by the legendary Italian violin-maker Antonio Stradivari. They’re asking for a minimum bid of $45 million, which would make this viola the most expensive instrument ever sold.

This price tag may break records but Stradivari’s instruments often fetch millions of dollars, due to both the cachet of the name and their reputed quality. Many people genuinely believe that they are superior to newly made violins and many scientists have tried to work out why.

But to Claudia Fritz from Sorbonne University, the search for Stradivari’s secrets is a “perennially fruitless one”… because they don’t exist. In two studies, she has shown that professional violinists can’t tell the difference between the so-called “Old Italian” violins and newly made ones.

“Strads are amazing instruments. They have survived 300 years and are beautifully made,” says Fritz. “I don’t want to destroy the Strads but I want to show that their amazing properties aren’t unique. You can find them in new violins as well. The new makers are doing a great job and are making amazing violins. They should be able to sell them with pride and recognition.”

Here’s a 28-minute documentary about the experiment.

In her first study, Fritz recruited 21 professional violinists from the International Violin Competition of Indianapolis, ushered them into a dimly lit hotel room, and asked them to play six violins. Three were new; one had been made just days before. The others had been crafted by either Stradivari or Guaneri “del Gesu” in the 17^th and 18^th centuries.

The violinists couldn’t tell. When they tested pairs of the violins, they were just as likely to prefer the new or old ones. When they played all six instruments together, and had to choose which they would most like to take home, 62 percent picked a new violin. And the oldest Stradivarius—an instrument that is held in an institution and loaned to only the most gifted players—was the most frequently rejected one.

“Many people were convinced that as soon as you play an old violin, you can feel that it’s old, it has been played a lot, and it has a special sound quality,” Fritz told me at the time. “People who took part in the experiment said it was the experience of a lifetime when we told them the results.”

John Soloninka was one of them, and he talked about his experiences in a comment on my write-up. “I expected to be able to tell the difference, but could not,” he wrote. “Claudia sent me my comments about the instruments that I made while I was playing them, and it was hilarious how wrong my impressions were at the time!”

The study was published in 2012, and Fritz says that the reactions ranged from delight to anger. Critics were quick to point out the experiment’s limitations—see the comments here for a sampling. The violinists only tested six instruments, and they played them for just 20 minutes in a dry hotel room. That wouldn’t do. To get the most out of the violins, the players needed hours—maybe weeks—of testing, and they needed to play in a concert hall. One distinguished violinist reportedly said, “You don’t test a Ferrari in a parking lot.”

Fair enough, thought Fritz. Let’s go to a concert hall.

“We couldn’t address all the issues in one study anyway,” she says. “We needed the first one to attract attention, so we could do a better one. This time people were really happy to loan me some instruments.”

This time, she worked with six Old Italian violins and six new ones. She recruited players of the highest calibre—10 soloists who were either internationally renowned or had won major international competitions. (Seven of them play old violins themselves.) And she assembled a seven-person team that included several scientists, a violin-maker, a soloist, an instrument dealer, and a string engineer. (Three of them own and play an Old Italian.)

The team laid all 12 violins out on a table and told the soloists to pick one that could hypothetically replace their own instrument for an upcoming tour. They had 50 minutes to play the violins as they wish, using their own bows, and they picked their top four. (The team polled several soloists before the experiment about the time they’d need to comfortably evaluate a dozen violins—the average estimate was 50 minutes.)

They ran this experiment in two Parisian venues—the home of a family of professional string players, and a 300-seat concert hall that’s well-known for its acoustics. In the hall, the soloists could ask for a piano accompaniment or for feedback from a listener of their choice. They could even ask one of the team to play the violins so they could check the sound from elsewhere in the hall.

The team gave the violins four points every time they were chosen as a top pick, three points for second place, and so on; they deducted a point every time an instrument was rejected.

Violin rankings. The six new instruments are on the top; the six old ones are on the bottom. The left bars represent the scores in the house; hte right bars are the scores in the concert hall.

Although the soloists varied in their tastes, two new violins consistently scored the most points, with an old Stradivarius tailing in third place. Overall, the new violins collectively scored 35 points and the old ones scored 4—a six-fold difference. Fritz writes, “We can find no plausible scoring system by which the old fare any better.”

The concert hall made little difference either. Some violins rose in the ranks and others fell, but the new ones maintained their lead over the old. “There is certainly no evidence here to support the belief that Old Italian violins come into their own in concert halls whereas new ones fall behind,” wrote Fritz.

In the final 12 minutes of the experiment, the team provided the soloists with three violins—their own, their top pick, and the best-rated instrument from the opposite age category. Their job was to rate each instrument according to six qualities: overall quality, articulation, timbre, playability, projection, and loudness. They rated the old and new violins similarly in terms of overall quality, but gave the new ones higher scores in all the other categories. The concert hall closed the gap slightly, but not enough to turn the tide in favour of the old.

Finally, the team asked the soloists to guess whether they were playing an old or new instrument. They were wrong half the time.

The results are very clear: Stradivarius violins, despite their reputation, inordinate price tags, and indisputable craftsmanship, are no better than the best modern ones.

Critics will undoubtedly cling to their beliefs, and reiterate that it takes ages to master an old instrument. But let us reiterate: ten violinists—among the best in the world—couldn’t tell the difference between the old and new violins, and were more likely to prefer the new violins when allowed to play the instruments in a concert hall. When they were debriefed later, they said that the experiment was more than realistic enough for choosing a violin for a tour (although not for buying one).

Fritz has also done two more studies: one assessing the listeners’ experience as the violins were played in an concert hall, and another analysing the physical properties of the instruments. Both sets of results will be published soon but—spoiler alert!—neither will support the superiority of the Old Italians.

“We should stop mentioning on the programme what soloists play because who cares?” she says. “That would allow young soloists to make a career without struggling to have a Strad on loan. If we judge players on how they play rather than what they play, that would be better.”

UPDATE: I asked John Soloninka for his thoughts on the new experiment and he kindly sent a very detailed response. Over to him:

I was very privileged to be one of the original participants in the so-called “Indianapolis Experiment”. Here is a detailed account of my experience; I won’t repeat those details here.

During the summer of 2013, I was one of a privileged group of violin makers and acousticians who were invited to the Oberlin Violin Acoustics workshop, in Oberlin Ohio. Claudia Fritz, Joseph Curtin, and Fan Tao shared the results of the new experiments to get confidential feedback from this group.

At one point during the week, I had the great privilege to play a Strad and a Guaneri for about an hour. These instruments together are worth about $15M at today’s prices. I was so impressed with the sound that on seeing Claudia later in the afternoon I said, “I totally accept the double blind study… but when I pick up that Strad, it is so amazing! What is it about the playing experience when you “know” what the instrument is, that makes it sound so great?”

She said, “You think you could tell that instrument from amongst 4 new and old other ones?”

My response: “Of course…but that is not fair…I just played it for an hour, I would be able to pick it out.”

She proceeded to arrange another test. We did the same procedure later that day and, again, under blinded conditions, I felt the “magic” but not just on the old ones but on the new ones as well. In fact, I preferred a new one!

Paraphrasing Sam Zygmuntowicz , one of the world’s leading modern luthiers, if you know an instrument is from the Golden Period, you will assume any poor sounds are attributed to your playing, rather than quirks of the instrument, and you would apply all subtlety in trying to coax nuances of sound of the instrument. If is it new instrument, you may attribute any poor sound to the instrument, and be less willing to search for the subtleties.

The new experiments will again bring up the criticisms of how this was not a perfect test (for example, optimizing bow, set up, time with the instrument etc.) and these are all true. Laurie Niles of violinist.com (who also participated in the Indianapolis Experiment) has posted the first such analysis here.

But I chose to draw different conclusions. These factors mentioned cannot all be biased in favour of new instruments and against old. The bow, for example would be suboptimal in a random way…not just benefiting the new ones.

What I conclude is the following:

- Great old instruments and great new instruments are great!

- The McDonald Strad Viola on sale for $45M is a great instrument. But NO ONE used its tone or playability when determining the price. It is the rarity, provenance, physical state of preservation of the antique, and most importantly, what the market will bear, that led to the price.

- There is no “secret” that makes old instruments magically better, and their sound and playing qualities are certainly reproducible to the extent that soloists or audiences can notice.

- That confirmation bias in decision making is very powerful… and you can fool yourself into believing almost anything, and seeing or hearing what you want to hear. So if it is violin, or wine, or venture capital investing or anyone one of many complex, preference-based, subjective decisions we make, we should ensure we are being objective and control for our biases.

- I think Laurie Niles was right when she said: The Golden Period was a peak in of violin making, and we are in a second one right now… and that is a great thing for professional musicians!

Reference: Fritz, Curtin, Poitevineau, Borsarello, Wollman, Tao & Ghasarossian. 2014. Soloist evaluations of six Old Italian and six new violins. PNAS http://dx.doi.org/10.1073/pnas.1323367111

F. Kreisler’s “Toy Soldiers’ March”

2014-04-02T09:44:00.001-07:00

原来学音乐这么好！

2014-03-20T10:00:00.001-07:00

雅马哈音乐中心福州分中心

1. 可以获得一项生存技能

当今中国社会生活和就业压力越来越大，竞争越来越激烈。要想过上较优越的物质生活，那么同时拥有一至几种生存技能是非常必要的。如您的孩子今后踏入社会参加工作，在那闲暇之余去各种演出场所演奏音乐，那正是一种非常有身份非常令人羡慕的工作，不但可以得到不扉的酬劳，更能因此结交到很多好朋友，发展和扩大自己的社会人脉，这已是现今不少人结交朋友的最好方式，因为您孩子的演奏使得别人更喜欢他（她）更愿意与他（她）亲近。这对您孩子今后的工作及生活都会起到莫大的帮助，会大大降低孩子的生存压力。

2. 改善孩子封闭的性格陶冶性情

现如今有不少孩子因为种种原因性格内向封闭，不愿与人接触，见人害羞，少言寡语，性情悲观忧郁，这些对孩子今后的成长后果是严重的。在这个需要沟通与推销自己的年代，封闭悲观的性格无疑是危险的，但音乐在这方面有很好的治疗效果，这是得到科学论证的，科学已经证实音乐对于减轻生理疼痛，对于精神疾病的治疗是有很大作用的。学习音乐的孩子一般都是性情开朗，活泼，乐观大方，习惯宣传和表现自己，不少性格内向的孩子通过学习音乐后，性情都得到极大的改善，处事待人，热情大方，更加喜欢与人沟通聊天。其转变之大经常令家人朋友吃惊不已。

3. 学习音乐可以提高孩子的气质与生活品位

社会上对学音乐的孩子最常见的评价是有气质有品位，因为音乐也是一种艺术形式，艺术源于生活但又高于生活。它是现实生活中的精华所在。对艺术的审美和鉴赏能力的提高，自然反馈到日常的生活之中。所以您经常可以看到学习艺术特别是学习音乐的孩子的身上经常散发出高贵的气质。在生活方面处处展现出艺术的品位与价值。所以学习音乐的孩子的生活质量绝对要远远超过一般孩子。他们所散发出的高贵气质常常令普通家长羡慕不已。在所有艺术形式里音乐是最能给孩子带来气质与品位的。音乐是从心灵深处唤醒孩子的气质与灵感。使孩子对世界对人生有更深刻的感受与体会。

4.学习音乐可以提高孩子的智力与想象力

音乐是声音的表现艺术，其音符的表现背后蕴藏着无限的意义。这便给孩子的想象力及逻辑思维能力及跳跃性思维提供了无限的空间。孩子可根据自己的想象来诠释自己心中的音乐。抛开感性从理性角度上讲。演奏音乐本身就是对大脑各方面能力的练习与开发。左右脑、手、眼及整个各身体各部分的配合都是对自身反映及协调能力的练习与考验。所以说学习和演奏音乐是对智商及情商的极大锻炼与开发，因此学习音乐对提高智力及大脑的各方面能力都有极大的帮助。

5.提高理性思考能力，更好的控制自己的行为。

众所周知：“学音乐的孩子不会变坏”！因为音乐学习的就是理性思考与感性思维，必须首先控制住自己才能控制住音乐。学习音乐的孩子花最大力气来学习的便是如何控制自己、控制音乐。用理性去思考，学会控制自己的情绪。想象一下一个学会了用理性去思考问题的孩子如何能去做伤害自己，伤害家人，伤害朋友的事呢？原因就是如此了。其实更准确的来说是“学习音乐的孩子更早的学会了理性思考”，避免了社会的残酷磨练，更早的学会了保护自己，保护朋友与家人，但与此同时又保留了孩子的童贞，他会以从容乐观的精神面对未来的机遇与挑战。

6.增强记忆力

在美国的一所养老院里，医护人员给患有老年痴呆症的老人播放他们年轻时流行的歌曲，起初只是为了怀旧。但没想倒唤醒了不少老人的记忆回想起了很多年轻时的往事。此发现获得了美国科学家的高度重视，因此在治疗老年痴呆症记忆力丧失症方面有了很大的突破，由此我们可以看到音乐对人脑记忆力的神气帮助。一首非常复杂的乐曲可以不看乐谱一字不差的演奏出来，这本身就是对记忆力的很好锻炼。一般的演奏者都可以不用乐谱演奏出十几首甚至几十首乐曲，专业乐手可以演奏上百首的也不足为奇，这样的记忆力我想也只有音乐可以做的到吧。

7. 懂得学习方法，善于总结经验.

音乐是理性思考和感性思维的艺术，因此如果不懂得学习方法，不善于理性的总结，灵活分析的话，基本上学不会演奏，音乐不是勤能补拙的艺术，不是所有孩子都可以学习的，音乐是给聪明勤奋的孩子学习的艺术，它会使聪明的孩子更聪明，懂得成熟的思考与判断。这便是人们所说的音乐天赋.

A Good Book to Teach You How to Practice Sevcik;s Masterworks

2013-11-06T17:48:00.002-08:00

How to Practice Sevcik's Masterworks by Prof. A. Mingotti

Preface
How to Practice Sevcik's Masterworks

Allocation of the Practising Material
Violin Technic: Op. 1

Part I
Part II

Part III
Part IV

School of Bowing Technic, Op. 2
Preparatory Studies to the Shake, Op. 7
Changes of Position and Preparatory Scale Studies, Op. 8
Preparatory Studies in Double Stopping, Op. 9
Conclusion

Bach - Bourree

2013-05-12T20:05:00.003-07:00

Bartok's Sonatina

2013-05-12T20:04:00.002-07:00

練習部分8級RCM的曲目

2013-04-29T11:26:00.002-07:00

Haydn G Major Concerto :

學習小提琴之前先要學習鋼琴嗎？

2013-04-12T20:21:00.002-07:00

在學習小提琴或其它所有樂器之前，是不一定先要學習鋼琴的。
當然由於鋼琴其本身的特性——譬如在發聲與找音，相比於其它樂器就有著上手入門方便的優勢。但是因為提琴與吉它類的樂器是可以選擇大小不同尺寸的樂器來演奏，所以開始學習這些樂器的時間相對於鋼琴來說會早一些。
我是4歲開始學習小提琴的，在印象中開並沒有同時開始學習鋼琴。Tossy Spivakovsky也是6歲才開始學習小提琴的，按鈴木教學法來說，孩子們在3歲就可以開始學習小提琴了。
由於小孩子在開始拉琴時用的琴是小尺寸，其琴弦的張力不是很大，所以孩子的小手按弦應該不是很吃力（我平時給學生授課時特別會要求他們不要大力按弦）。反之由於鋼琴是統一尺寸，其琴鍵對於3、4歲的孩子來說是沉重了一些（從人體生理學上來看，孩子的手指關節能否承受由於按鍵而帶來的衝擊力對我來說是有疑問的）。
在我的記憶中，沒有一個能夠演奏艱深鋼琴作品的小孩子，反而記得有一個5歲的小女孩演奏帕加尼尼的隨想曲（他的隨想曲對於成人來說都是很難演奏的）。
所以我覺得3、4歲的孩子現在就可以考慮開始學習小提琴，反而鋼琴的學習就可以晚一些再開始。
作為家長來說，最困難的不是懂不懂樂理，反而是‘陪太子讀書’，最有印象的一張照片是在一個美國人William Starr 的《The Suzuki Violinist》書中——一個媽媽在田中插秧，她的孩子就在田頭拉琴。
作為開始，家長可以考慮讓孩子到就近的鈴木學校去看看http://www.suzukiontario.org/
甚至可以鼓勵孩子參加一、兩期的集體課，看看效果怎麼樣。。。

How to hide empty staves - Finale 2009

2013-04-01T20:22:00.000-07:00

Click the Staff tool . The Staff menu appears.
Select the empty staves you want to hide. You can either highlight the staff handle(s), or select at least one measure of the staff in systems you want to affect. See Selecting Music. Press CTRL+A to Select All.
Right the measure(s).
Click '12. Hide Staff ' from the pull down menu.

練習部分六級RCM的曲子

2013-01-26T22:44:00.000-08:00

l LIST A： M. Kymlicka: Concertino Grosso I

n M. Kymlicka's Concertino Grosso III

l LIST B： B. Martinu's Sonatina II

l LIST C： G. Coutts Hornpipe

l STUDIES： J. Trott - Melodious Double Stops - No.23

做梦也想不到“梁祝”是这样写成的

2013-01-24T09:30:00.001-08:00

http://blog.sina.com.cn/s/blog_614027830100r6g2.html 陈歌辛和夫人金娇丽小提琴协奏曲“梁祝”的影响力不容置疑，被誉为中国民族交响乐之魂。“梁祝”于1959年首演，陈钢是曲作者之一，而他的父亲陈歌辛当时正被劳^改，陈钢是家中的长子，承受着极大的痛苦。1957年，陈歌辛被打成右派，发配到安徽山沟里的白茅岭劳改农场，没什么东西吃，瘦得皮包骨头，从肉体到精神饱受折磨，而他的家人也未能幸免。大儿子陈钢被冠以“右派孝子贤孙”的骂名，二儿子陈铿是数学奇才，原来在复旦大学，竟被送到江西去喂猪。幼子陈东年龄尚小，却没有一个完整的家庭，女儿陈小丽则终日一语不发，夫人金娇丽扛起了全部的生活重担，过著艰辛的、暗无天日的生活。就是在这种极度艰难的情况下，当时在上海音乐学院的陈钢却被学院党委安排为“新中国”成立十周年献礼，创作音乐作品。难以想像他当时是以怎样的心情写下了这不朽的名篇------小提琴协奏曲“梁祝”，或许正因为遭受了如此的彻骨之痛才得以创作出震撼心灵的声音，如泣如诉的旋律里，揉进了陈钢多少难言的心声与抗争。远在安徽农场的陈歌辛从广播里听到了“梁祝”，激动万分，他让陈钢尽快将谱子寄给他，陈钢多么想将作品送到自己的启蒙老师——父亲的手里，可是，在那个年代是不能实现的。不仅如此，陈钢的爱情也在风雨中飘摇，陈钢与心上人纯真的爱情无法冲破世俗的屏障，姑娘的家人一致反对和一个右派的儿子交往，尽管姑娘情深似水，她的家人却始终不同意。陈钢忘不了那个漆黑的夜晚，北海公园里一片寂静，心碎的陈钢不得不与他心爱的姑娘诀别。就在这时，公园的广播喇叭里竟然飘出了“梁祝”的旋律，此情此景，竟如同梁山伯与祝英台的诀别，“梁祝”竟成了他初恋的绝响。老上海的歌仙---陈歌辛陈钢的举世才华与他的父亲陈歌辛密不可分。陈歌辛在三四十年代的老上海人人皆知，是著名的音乐人，“夜上海”、“玫瑰玫瑰我爱你”、“蔷薇处处开”、“永远的微笑”、“恭喜恭喜”、“梦中人”等等优美的歌曲，都出自于陈歌辛之手，被誉为“歌仙”。在老上海时期，陈歌辛声名显赫，红歌星周璇所演唱的电影插曲，至少有三分之一由陈歌辛谱曲，姚莉、龚秋霞、李丽华、李香兰、陈娟娟、白光等著名影视歌星，也都演唱过陈歌辛的许多作品。而且他作品的影响力一直延续至今，邓丽君、蔡琴、梅艳芳、张惠妹、罗大佑等人，也都在演唱会上唱过陈歌辛的作品，每每唱起都深情款款。陈歌辛一生共写了二百多首歌曲，其中“玫瑰玫瑰我爱你”还被翻唱成英文歌曲“Rose,Rose,I love you”，流行于世界各地。年轻的陈歌辛温文尔雅，英俊潇洒，尽管生活非常节俭，没有光鲜亮丽的衣着，但浑身仍然散发著书卷气质和非凡的才华。在上海任教期间，赢得了一位女学生的爱慕，她叫金娇丽，是个富家千金，又是学校的校花，然而才子佳人的相互爱慕却遭来了金娇丽家人的反对，但金娇丽不顾父母的阻拦，勇敢的冲破重重障碍，终于与才子老师喜结良缘，开始了共同相伴的音乐人生。此时的陈歌辛不仅对音乐热衷，而且也是个热血青年，心系祖国安危。1941年，曾被日本人关押，受尽各种酷刑仍不屈服，终被释放。这段特殊的经历却并未使他消沉，而是更丰富了他的内心，激发出更多的灵感用以创作。1942年的“蔷薇处处开”，1943年的“玫瑰玫瑰我爱你”，1944年的“凤凰于飞”和“不变的心”，1945的“夜上海”都堪称经典之作。这些看似风花雪月的背后却暗含隐喻，表达了陈歌辛希望抗日胜利，以及对自由美好生活的向往。抗日战争胜利后，陈歌辛一家来到香港，继续着他的创作，这段时间他们一家人生活的非常安逸，其乐融融。可是，之后的一个决定彻底改变了他们的命运。 1950年，他应夏衍之邀，放弃了香港较优越的生活，满怀憧憬和希望重回已是“新中国”的上海，那时的他做梦也没有想到这一决定注定了他日后悲惨的命运。 1957年，陈歌辛被打成右派，发配到安徽山沟里的白茅岭劳改农场，1961年，陈歌辛连饿带病死在了劳改农场。可怜的他，仅仅回国十馀年的时间，一位老上海的“歌仙”就这样悲惨的长逝于他曾向往的“新中国”的土地上。1962年，金娇丽来到白茅岭，她带去了一只小小的木箱，捡回了陈歌辛206根遗骨。之后，在漫长的岁月里，伴随她的只有丈夫留给她的那些歌曲以及儿子陈钢的“梁祝”，凝聚着陈氏父子对自由美好生活的追寻，终化为美丽的蝴蝶翩翩飞去......

Kerson Leong at the Closing Gala Menuhin Competition Oslo 2010

2013-01-11T10:27:00.003-08:00

Kerson Leong performs Sarasate's Zigeunerweisen with the Oslo Philharmonic, John Fiore conducting, at the Closing Gala of the Menuhin Competition Oslo 2010. Prior to the performance, he received the Junior First Prize from HM King Harald of Norway and a flower bouquet from Zamira Menuhin Benthall.

Bravo! ! Unbelievable - 7 years' old conductor 令人難以置信的7歲指揮家

2012-12-17T08:09:00.000-08:00

please watch this video. This little kid is unbelievable.

好出色的指揮家，不得不看！

This boy is surely incredible. He must have carried this talent from his previous life and continued his legacy here. Besides, he is extremely cute with such adorable, angelic face.

Overture to " The Bat " 史特勞斯 - 蝙蝠序曲
http://www.youtube.com/watch_popup?v=BNNFtlF9CDE&vq=medium

專訪馬友友母親盧雅文頂級音樂家背後的推手‏

2012-11-06T20:02:00.000-08:00

Life is beautiful, no matter how you feel.

她孕育了馬友友的生命，也是馬友友最初的音樂啟蒙人。她見證了馬友友從一個孩童到世界頂級音樂家的整個生命歷程。作為譽滿全球的天才的母親，盧雅文說：「在我的心裡他的善心和真誠比他拉大提琴的成功更重要。」

美國大西洋邊一個風景如畫的城市裡，記者見到今年87歲的盧雅文，她在這個美麗而安靜的海濱城市裡過著恬淡隱居的生活。這個出生於20世紀初，在亞、歐、美三大洲留下生命足跡，精通中西方古典音樂、法語和英語的中國人就是世界著名大提琴家馬友友的母親。

她出生在「東方之珠」的香港，畢業於民國時期南京的中央大學，她在重慶沙坪壩躲過抗戰紛飛的戰火，在風雨飄搖的動盪時局中，離開內戰時的中國在法國巴黎邂逅她的音樂老師馬孝駿，在巴黎生下音樂神童馬友友和姐姐馬友乘，她和丈夫把孩子帶到美國紐約，讓馬友友得以在廣闊而自由的舞台上打開無限的發展空間。

馬友友的父親馬孝駿和母親盧雅文在法國巴黎結婚時的相片。

音樂家最重要的是同情和關愛

「友友從小就很奇怪，他很頑皮，但是不像別的男孩子一樣喜歡槍、打仗。他從小就有一顆善良的心。」盧雅文說有次帶著七歲的馬友友和姐姐去中國城買東西，看到有一個小孩站在路邊看著商店裡的零食問馬友友的媽媽「這個多少錢?」媽媽著急趕路沒有停留，帶著兩個孩子匆匆走過。這時馬友友拉著媽媽的衣角，對媽媽說：「媽媽，你不買嗎？」盧雅文說：「我以為是友友自己要吃，沒想到他卻說：『他是個小孩哎！』我才知道他說的是那個小孩。聽到他的話我的臉都紅了，他這麼小的年紀就這麼有同情心，我卻沒有想到。友友教育了我這個當媽媽的。」

「有次我們全家的好朋友約翰．若勒博士（John Rallo）帶著孩子到我家來跟我先生學琴，若勒博士對孩子很嚴格，在電梯裡他訓斥自己的孩子為什麼不好好用功，友友在旁邊聽到眼淚都流出來了，他為自己的小夥伴擔心，同情他。」
盧雅文說馬友友從小就充滿了愛心，對他人充滿了同情和關愛。這是作為一個音樂家最重要的東西。
上哈佛時友友注意到住在同一宿舍樓的一個黑人女生早上從不吃早飯。有天他就買了早餐用塑膠袋把早餐掛在她宿舍門外的把手上，寫了一張字條：「吃早餐對你的身體有好處」第二天那個女生回覆了馬友友一個字條說「謝謝友友爸爸啦！」盧雅文說馬友友對任何人都是這樣關心，不分種族和膚色。
「友友也很有孝心，他的爸爸生病住醫院，友友排練完背著琴到醫院給爸爸彈琴。他爸爸臨終前很怕死亡，友友就坐在爸爸的床邊給爸爸講天國的世界和美好，讓爸爸不要害怕，然後又跟爸爸講小時候跟爸爸在一起的美好回憶讓爸爸開心。」盧雅文悠悠地說著過往的事情，臉上滿是溫馨。
馬友友的音樂同行，獲得過最多葛萊美獎（二十六個）的著名歌唱家愛麗森．克勞絲（Alison Krauss）有次說：「能夠和馬友友的藝術才華相提並論的，只有他的善良和慷慨。是神造了馬友友，馬友友被造出來了，神也就收工了。」
音樂是無私的
記者問盧雅文對小孩的教育最重要的是什麼。她說是做人的道理。小孩子學音樂除了教他們學習音符和技術更要告訴他們一些道理。她說馬友友四歲開始拉大提琴，姐姐馬友乘比他大四歲，拉小提琴。小孩子的天性都很頑皮，他們有時也會爭吵。有天他彈姐姐的音樂，姐姐說：「這是我的音樂你不能彈。」弟弟說：「這是我的大提琴音樂。」兩個人爭起來了，媽媽聽到對他們說：「音樂是給所有人的，不是你的，也不是我的，是大家的。」

馬友友的母親盧雅文為了相夫教子放棄了做聲樂歌唱家的夢想

大概媽媽的話在孩子的心裡紮了根 — 音樂是無私的，是給大家分享的。馬友友和姐姐長大後一直到現在都在實踐著這句話。馬友友成名後創立了「絲綢之路」樂隊，集合了來自世界各地的音樂人為他們提供發展的機會。
「友友很幸運得到很多人的幫助，現在他成功了，他也要幫助別人，成名後工作更加辛苦，通常一個人做四到五個人的工作。他就是想幫助別人，回報這個世界，這是他的使命，他對得起上天給他的恩賜和所有幫助過他的人。」
馬友友的姐姐馬友乘也是這樣，從哈佛大學醫學院畢業後她一邊行醫，一邊與丈夫 — 古典吉他手麥克．達德普（Michael Dadap）經營兒童交響樂團協會（Children's Orchestra Society），幫助兒童發展音樂的天賦並給他們提供和著名音樂家同台表演的機會。這個非營利組織是馬友友的父親馬孝駿在1962年創立的。

馬友友大提琴CD專輯封面。

「如果兒童交響樂團協會支出有困難友友都會舉辦慈善音樂會為他們募款，分文不取。」盧雅文說。
馬友友的音樂合作夥伴芮妮．弗萊明（Renée Fleming）美國最頂尖的抒情女高音歌唱家說：「他的人性和他在藝術上的才華、音樂上的造詣是並駕齊驅的，我們生活在一個啟蒙的時代，因為他和我們在一起。」
把心中最美好的東西給別人
在談到家長對孩子的教育時，盧雅文說言傳身教裡面身教很重要，「小孩子很善於觀察，有些東西你不說他都會看到。」
「很多跟友友共事的音樂家、作曲家都很喜歡他，喜歡跟他一起做事，觀眾也喜歡他，喜歡聽他的音樂，因為他把心中最美好的東西給別人，這一點跟他爸爸的身教有關係。」她說。

馬友友七歲隨家人移居到美國，左一為馬友友的叔叔。

盧雅文說在法國巴黎時他們的生活很拮据，靠先生一個人的微薄收入維持全家四口人的生活，在這種情況下「我的先生都會把家裡最好的東西留下來，招待朋友。友友都看得見。友友長大後對朋友、對家人、對觀眾也都是這樣，他把自己的心拿出來給人家。」

馬友友幼年時和母親在法國巴黎。

曾擔任紐約愛樂首席指揮、倫敦愛樂樂團音樂總監和法國國家樂團音樂總監的德國指揮家庫爾特．馬蘇爾（Kurt Masur）說：「我第一次見到馬友友時就知道他是一個魔術師，每個人都非常喜歡他的演奏和對音樂的詮釋，他也是我見到過最坦誠的人，他的微笑和善意發自他的心底，無論他演奏什麼你聽到的音樂，都是那麼的清新和啟迪人心。他走到哪裡就把愛帶到哪裡。」
善的教育
有的小孩因為從小練琴很辛苦，會「恨」琴，馬友友是否也有經歷過同樣的情況呢？盧雅文說“沒有”：「我的先生是個教育家，很會循循善誘，每次不會讓友友練得太長，只15分鐘，讓他專心地練，因為小孩子頑皮、定力不夠，專注比時間更重要。他的爸爸還很會講故事吸引小孩，小孩子都喜歡聽他講故事，連外國（西方人）小孩都喜歡聽他講。」
「我的先生從來不會因為音樂而打小孩子的屁股，不讓小孩因為音樂而受罰，因為怕小孩心裡會留下陰影。如果想讓小孩以後做音樂家的話，就不要給他的心裡留下陰影。其他的時候，小孩如果不聽話、頑皮可以打屁股。但是如果音樂通不過的話，他的爸爸不會打他，而是『罰』他寫毛筆字，寫中國字。但是友友學音樂從來都是通過的，不需要懲罰的。」盧雅文自豪地說道。
「友友很喜歡音樂，假如他愛這個音樂，他聽不見你講話，他耳朵是聾的、聽不見外面的，他的精神全部都專注在音樂裡面。他從小就喜歡舒伯特、海頓，練起來就不願意放下。」
藝術的最高境界——簡單和自然
記者問馬友友很小的時候就會拉難度很高的曲子，他的年齡和他對音樂的表現力，讓世界頂級的音樂家都感到不可思議，他是怎麼學習音樂的？
盧雅文說馬友友六歲時他會拉琴讓媽媽聽，同一首曲子他有多種不同的拉法讓媽媽聽，然後問媽媽「妳喜歡那個？」然後問媽媽為什麼喜歡那個。
「我告訴他，我喜歡Simple（簡單），Simple永遠是最好的，不要複雜，自然最好，因為我們中國人講『中和』、『中庸之道』。」她說。「他從小就知道同一個東西可以有不同的表現方式，他問我喜歡哪個，我告訴他，他隨時都可以改變表現的方式，這是天賦。」驕傲的神情寫在盧雅文的臉上。
有次他在茱利亞音樂學院的老師讓他和姐姐一起拉舒伯特的奏鳴曲，這對於一個孩子來說難度非常高。友友嘗試了很多次都不能表達出來，他就讓媽媽來唱。盧雅文就唱給他聽，唱完了他說：「媽媽，為什麼你能做到而我做不到？」
我說：「你先要理解作曲家的意圖然後把它表達出來，我能表達出來是因為我的聲音是天生的，自然的，不需要練我就可以自如地運用聲音表達自己，而你的 cello（大提琴）不是自然的，你需要練習，有了technique（技巧）才能自然地運用它來表達你要表達的東西。你現在表達不出來是因為你還小，沒有足夠的technique來表達自己想要表達的東西。」
後來馬友友苦練技巧，最後終於漸入佳境，大提琴好像變成了他身體的一部分，能夠運用自如地表達他的思想和情感，就像媽媽用歌聲表達自己一樣的自然。
在1982年2月《哈佛》雜誌的封面故事中馬友友說：「我的母親對音樂的表現力發揮到極致，她知道什麼是美好，她的音樂充滿了感情。而我的父親則偏重理性分析，智慧和技巧。」在音樂方面父母對馬友友的影響缺一不可，好像陰陽和合而成，日月交映成暉，極富感染力。
當今古典樂壇中流砥柱的指揮家，被譽為「古典音樂的票房保證」的世界級指揮家馬裡斯．揚頌斯（Mariss Ivars Georgs Jansons）曾這樣評價馬友友：「他集多種品質於一身：才華、音樂的創意、藝術的眼光、廣泛的類別、人性的魅力，這些都造就了馬友友成為世界頂級的大提琴家和最受人歡迎的藝術家。」這些特質都和承傳了諸多中華傳統文化的父母關係密切。
天才的魅力
記者問馬友友在三種不同的文化中長大，又是神童，對他的教育跟其他孩子有什麼不同？
盧雅文說：「我的先生在家裡都要我們講中文，他對孩子很嚴格，友友很尊重中國式的教育方法，但是因為他出生在外國，他是international的（國際），他知道我們不知道的東西，他的發展空間是更廣闊的。」
馬友友七歲時世界著名大提琴家帕布羅.卡薩爾斯（Pablo Casals）聽他拉琴後立刻意識到，眼前的這個小孩將是改變世界樂壇的力量，他毫不猶豫地把馬友友推薦給著名指揮家伯恩斯坦（Leonard Bernstein），讓他和姐姐與伯恩斯坦一起在華盛頓DC為甘迺迪總統和夫人表演。帕布羅．卡薩爾斯對馬友友的父母說：「你們要好好保護他，尊重他的意見，讓他自由。」

七歲的馬友友和姐姐在甘迺迪中心為甘迺迪總統、夫人和五千名觀眾表演，右為著名指揮家音樂大師伯恩斯坦（Leonard Bernstein）。

馬友友從小就很有自己的想法，對爸爸中國式的家長權威他尊重，但也會「臨危不懼」。「But, Daddy,·····」（但是，爸爸），他會陳述自己的思想，不是一味的服從。但是對於中國傳統的美德教育，比如謙虛，馬友友的父母是堅持的。馬友友謙虛優雅的風度，正是讓西方觀眾著迷的與眾不同的東方魅力。
盧雅文說馬友友七歲時，有一天母親帶他去看牙醫忘記了路，馬友友指出了路在哪裡，媽媽問：「你怎麼曉得的？」馬友友回答：「因為我是 Genius（天才）！」母親聽了大驚，心想：「糟糕了，他在學校裡聽到人們這樣叫他（小小年紀就跟伯恩斯坦同台為總統表演）他也跟著學，他哪裡懂，人一驕傲還能長進嗎？這不完了嗎？」
母親就從容地糾正他說：「你記憶力不錯。」說他是記憶力不錯就是為了告訴他，他不是「天才」。雖然母親不願意別人稱他的兒子為天才，但是人們還是認為馬友友是個不折不扣的天才。
電視和廣播主持人塔維斯．斯麥利（Tavis Smiley）曾經不無感慨地說：「馬友友是個天才，這是毫無疑問的。但是在我看來他在音樂方面的才華並不是他最了不起的秉賦，而是他對人性的關愛最讓我折服。我相信心與心的溝通，馬友友的心靈充滿了愛的恩典，所以當你聽他的音樂的時候，你就能感受到他的心。」
超越時空的人性

作為一個母親，對譽滿全球的天才兒子最喜歡什麼？「我的心裡他的善心和真誠，比他拉大提琴的成功更重要。」盧雅文說：「因為他是我的兒子，不是一個機器。Cello（大提琴）是他的愛好，他是利用Cello傳播他的愛心，我最愛他這一點。」
有年中共前主席江澤民來訪問美國，克林頓總統邀請馬友友出席招待會，宴會上馬友友坐在江澤民的旁邊，吃飯時馬友友對江澤民說：「我看，（你）對西藏的情形恐怕不太好吧。」江澤民聽了很不悅一句話都沒有說。
盧雅文說因為這句話，江澤民不喜歡馬友友，他曾經在中共的黑名單上，好幾年都沒讓他去中國演出，「但是人民喜歡他，喜歡他的音樂，要他回去開音樂會。」
「他完全曉得江澤民不高興聽這樣的話，但是友友不怕，他敢講真話，我很佩服他。雖然江澤民不喜歡友友，但是人民喜歡他（友友），友友是非政治的，他關心的是人民，他很有人性。」
她接著表示，「雖然我是他的媽媽，我也不怕不好意思說他是個好人，我很羨慕他能這樣做。」
盧雅文說：「我已經九十多歲了，以前從來沒有跟別人說過這個，今天講出來是覺得會對別人有好處，對後來人有好處。總有一天馬友友的時代會過去，友友也說，『再過一些年人們也許就會忘記我。』」
在歷史的長河中人的生命是很短暫的，但是美好的音樂和人性的光輝，卻會流芳百世千世，就像十六世紀的巴洛克時代的巴哈音樂，文藝復興時期的人文主義的精神，到今天還在影響著、啟迪著二十一世紀的人們。
每個人心中都有良知和善念
馬友友曾說過對他影響最深的是已故世界著名大提琴家帕布羅．卡薩爾斯（Pablo Casals），因為卡薩爾斯說過這樣的話：「我首先是一個人，第二是音樂家，第三才是大提琴家。」

馬友友的伯樂與偶像：大提琴家帕布羅．卡薩爾斯說過：「我首先是一個人，第二是音樂家，第三才是大提琴家。」對馬友友影響深遠。

作為一個人，帕布羅．卡薩爾斯以充滿人性的關愛堅定地支持西班牙的民主和自由，反對佛朗哥獨裁政權。他曾說：「我們都是樹上的一片葉子，這棵樹就是人性，如果沒有了樹葉也無法存活。每個人的心中都有一個良知和善念，根據心中的善念所做的決定是這個世界最需要的，做到這一點並不難，只需要勇氣，有了勇氣一個人就可以聽見心中的善念在召喚。」
也許馬友友也希望被人們記住：他首先是一個充滿了人性的人，其次是一個世界知名的音樂家，然後是一個傑出的大提琴演奏家。

2009年馬友友的母校哈佛大學邀請馬友友參加紀念聯合國人權宣言六十年的活動。哈佛大學教授，人文中心主任賀米．巴巴爾（Homi K. Bhabha）說過這樣一段話：「人權不只是停留在一個理念和意願上，就像音符一樣，它只有被詮釋，練習和演奏成音樂時，它才真正能把人性的自由從個人的權利轉化成普世價值，當我們見證人權精神時馬友友和他的同行們，將用他們的音樂穿過歷史的沉默，讓人們在克服恐懼中看到光明和希望。」
這是一個新舊交替的時代，這是一個締造未來的時代，在這個偉大的時代裡，音樂家們也可以像文藝復興時期的藝術家一樣，用深厚的人文情懷譜寫人性的光輝和永恆的樂章。

Do What You Like & Like What You Do - 学琴与考级之联想（一）

2012-06-15T21:06:00.001-07:00

之前提到过 W.Z. 两年内由六级考到十级（他的十级从准备到考试实际上只用了五个月）。别人怎么样呢，其实还有 L.T. - 八级考完后，在第二年就把十级考下来了。。。
有没有花多了时间来准备的呢？当然有，譬如 H.F. 就用了几年- 我们拉了三套十级的曲目再加上‘梁祝’；还有 S.Y. - 我们把几本二重奏的曲集都拉完了，才去考十级。
有没有不考级的呢？当然也有：譬如 C.S. 就不考 - 我们一开始就订好计划：把准备考级的时间省下来，上大学前要学到最高级别。所以他用了四年的时间把所有的技术都学会了，并且为上大学预备的曲子是帕加尼尼的“钟”
还有 J.T. ：他转到我这里时刚刚考完三级，之后再怎么催他去准备考级他都不愿意。我跟他妈妈商量——这孩子有灵气，不要让考试把这个给埋没了，给让他做自己喜欢的事吧。这样他就学了所有我教给他的技术，我也教了他喜爱的曲子（考级指定曲目之外的）。期间他也有考试：花了个把月准备考Unionville High School (Ontario)，还有周边的社区乐团等等。虽然没有考了级，但是该学到的小提琴技术还是掌握了，进了大学后让教室看中了——原来是准备念法律的，终究是在第二年转修了提琴专业。。。
无论如何，这些学生们都是基于‘喜欢’才来学琴的，至于考不考级并不重要——最重要的是他们都学到了东西，我也尽我的所能把我所知道的尽量传授给了他们。希望他们能够在今后运用这些技术与经验做他们自己喜欢的事！

VIOLA EVENTS, COMPETITIONS, AND SCHOLARSHIPS

2012-05-17T19:03:00.001-07:00

Tarisio Matching Grant Program: awards up to $10,000 (£6,000) of matching funds to one winning applicant for each Tarisio auction of fine instruments and bows. Open to string players aged under 30 who are currently enrolled in or graduates of a music performance degree program.

Johansen International Competition: Young string players ages 13-17 are invited to compete for $66,000 in prize money in the Johansen International Competition for Young String Players, which will be held March 21-24, 2012 in Washington, DC.

Washington International Competition will take place in Washington DC from June 8-10, 2012. Violists between the ages of 18 and 28, who are ready to take the next step towards establishing a professional career but are not yet under management, are encouraged to apply. First prize: $8000. Finalists will have the opportunity to play at Kennedy Center's Terrace Theater.

Aronoff Music Festival, a unique summer retreat of inspiration, refreshment and new ideas for Violists age 14 through adult. Check website for festival dates and other events throughout the year.

PAST EVENTS

5th Annual Viola Celebration to be held October 22-23, 2011 on the campus of the University of Tennessee.

Aronoff Music Festival, June 29 - July 3, 2008. A unique musical experience of inspiration, refreshment and new ideas for Violists (age 14+), Violinists and Cellists (age 18+).

Interlochen's Viola Institute, a one-week program, to be held starting June 16, 2007 for violists ages 14-25.

Aronoff Music Festival, June 25-29, 2006. A unique musical experience of inspiration, refreshment and new ideas for Violists (age 14+), Violinists and Cellists (age 18+).

Royal Northern College of Music (in Manchester, UK) is holding a public Viola Day on Sunday, 19 June 2005, which will include maker’s stalls, masterclasses, workshops, performances and some mass viola playing.

XXXIV International Viola Congress held in Montreal, Canada, June 7 - 11, 2006.

XXXIII International Viola Congress was in Reykjavik, Iceland, June 2 - 5, 2005.

Orchestral Audition Training Workshop (age 18 - professional) at the Meadowmount School of Music in Westport, NY, May 21-28, 2005. Viola faculty: Boston Symphony Orchestra violist Ronald Wilkison and former Boston Symphony assistant principal Patricia McCarty.

2005 Chicago Viola Society Solo Competition was held on May 8, 2005. Here is the repertoire list in MS Word format.

XXXII International Viola Congress was held June 9-13, 2004 on the campus of the University of Minnesota in Minneapolis.

2005 Chicago Viola Society Solo Competition - April 23, 2005

Max Aronoff Viola Institute, June 29-July 3, 2003. A unique musical experience of inspiration, refreshment and new ideas for Violists (age 14+), Violinists and Cellists (age 18+).

XXXI International Viola Congress, June 10-13, 2003.

Annual SCVS Mini Congress, May 24-25 at Cal State Long Beach University, Gerald R Daniel Hall, May 18-19, 2003.

2003 Primrose Memorial Scholarship Competition, May 18-19, 2003.

A live television and radio broadcast of the Mormon Tabernacle Choir featuring guest violist, Helen Callus on March 9, 2003, 9:30 AM. at Temple Square in Salt Lake City, Utah.

Utah Viola Society "ViolaFest" at Brigham Young University: March 8, 2003, 9:30 AM-5 PM. Master class by Helen Callus, many other activities also planned.

The 2003 Primrose Memorial Concert, featuring Helen Callus from the University of Washington, will take place on Friday, March 7, 7:30 PM in the Madsen Recital Hall at Brigham Young University.

ViolaFest 2002 presented by SCVS on October 20 at 4 pm.

Info on viola scholarship to study with Robert Turrell at the Royal Academy of Music's Junior Academy

XXX International Viola Congress will be held June 19-23, 2002 in Seattle, WA.

Karen Tuttle's Coordination Workshop - June 7-9, 2002

Chicago Viola Society Solo Competition - March 23, 2002 - Chicago College of Performing Arts, Roosevelt University

PIVA Opening held on March 1, 2002

Central Conservatory of Music Viola Competition in Beijing, November 6-11, 2001

Viola Festival - Lionel Tertis 125th Anniversary (1876 -1975) from 31 October to 2 November, 2001 at the Royal Academy of Music, London

Max Aronoff Viola Institute, June 25-30, 2001

International Primrose Competition 2001

XXIX Viola Congress, 2001 will be hosted in Wellington, New Zealand, April 8-12, 2001.

Scott Lee's Debut with the American Youth Symphony is at 8:00 pm, Sunday, April 8, 2001. Admission is free.

Violafest in Utah, March 7-11, 2001

The 10th Anniversary Casals Hall Viola Space 2001, January 2001.

Munich Competition, Sept 7 - 15, 2000

Lionel Tertis International Viola Competition and Workshop, 2000 was hosted 19-26 August 2000. (old link)

XVIII Viola Congress, 2000 was hosted 4-8 August 2000 at Linkoeping, Sweden.

Maurice Vieux Concours International d’Alto, Spring 2000

First Viola Competition in China was held at the Central Conservatory in Beijing, July 9-14, 2000.

Chicago Viola Society's 2000 Solo Contest: January 22, 2000

Viola Fest, Nov. 19-21, 1999 at Penn State University

Paul Coletti's Recital, Oct. 24, 1999 at Mannes College

14th German Violists' Congress at Celle, October 15 to 17, 1999

Karen Ritscher's Recital, Oct. 10, 1999 at Mannes College. Program includes TURINA, BRAHMS, and an ensemble including Jens Nygaard.

Joseph de Pasquale Viola Institute, July 25-August 8, '99 at the International FAME Festival in New Jersey

Max Aronoff Viola Institute, June 27 to July 2, 1999

International Viola Congress, June 9 - 12, '99

Primrose Competition, '99 (Winners listed on the page)

Nokuthula's "homecoming" recital, Colburn School of Performing Arts in Los Angeles, April 11, 1999

Concours national des jeunes Altistes (National Competition for Young Violists, France), February 5 & 7, 1999

Chicago Viola Society's 1999 Solo Contest: January 9, 1999

Scott Lee's New York Debut, Thursday, October 29, 1998; 7:30 p.m.

First International Viola Competition in Vienna, September 7-12, 1998

The de Veritch Institute of Viola Studies: VIOLA CAMP, August 1-11, '98

International Viola Congress, '98

Viola-Fest, June 26-27, '98: featuring Yuri Bashmet, Nobuko Imai, Kim Kashkashian and Tabea Zimmermann

Arizona Viola Festival: March 27-28, 1998

Chicago Viola Society's 1998 Solo Contest Winners, March 15, 1998

3rd International Viola Competition in Moscow, 1997

International Viola Congress, '97 held at University of Texas at Austin

考级

2012-04-25T10:44:00.001-07:00

     考级是大多数学生学琴的目的之一。至于考什么、怎么考及何时考就需要好好计划一下了。如果能够定下目标，并且按照正确的方法去每日加以练习的话，在短时间内达到RCM的考级标准不是不可能的：
· 从持琴开始至入门级（能够完整地演奏一首乐曲） 12节课时（或更长）。
· Grade 01:      8 节课时。
· Grade 02：   14节课时。
· Grade 03:      14节课时。
· Grade 04:      24～26节课时。
· Grade 05:      12节课时。
· Grade 06:      12节课时。
· Grade 07:      12节课时。
· Grade 08:      18节课时。
· Grade 09:      27节课时。
· Grade 10:      36节课时。
当然了，如果上课时不用心学并且回到家也不认真练习的话，上述的各级学习所需的课时也就会拖长一至二倍甚至更长！
注意：学习要有好的方法，但是如果离开了持之以恒的练习也是达不到目标的！
·    关于考级
· 『兩年內由小提琴六級考到八級再通過十級考試，不是不可能的。。。』
· 『怎样安排练琴时间』

艺不压身

2012-04-10T09:03:00.001-07:00

研究：儿时学音乐大脑终身受益

不仅如此，学了一件乐器，不单‘艺不压身’，还随时可以拿出来用，在并取到意想不到的效果呢。我的儿时伙伴给我讲过一个他的经历：

他有一个学生从小跟他学习中提琴。由于基础打得好，所以琴也拉得不错。到高中的最后一年时，他需要停掉提琴课以便准备考大学。我的朋友就帮他安排了一套曲目以备将来的考试之用，并嘱咐他不要停掉平时的练习：一来功夫停掉了后捡回来需要时间，二来‘艺不压身’，随时可以拿出来用。。。

到第二年时，这个学生的家长带着他来我的朋友家来特意感谢老师的栽培——中提琴帮助他考取了耶鲁大学！

原来他报读了耶鲁大学的商学院。那一天他在商学院做完报考所需要的事情之后，背着中提琴溜达到音乐学院，想要看一看有无可能考一下学校的乐队——入校后可以参加一项课余活动。

当他演奏完考试曲子后，教授问：为什么在专业考试的名单中没有见到他的名字？

他答：他来学校考的是商学院，来这里是为了如果被录取后，在学期当中会有一项课余爱好活动可以参加。

教授又问：如果来音乐学院学习怎么样？

他又答：还不知是否被学校录取，怎么能来音乐学院上课呢？

教授告诉他：这方面无须担心：音乐学院为你提供一个中提琴的副修专业的奖学金，你报考的主修商学院方面由音乐学院去做沟通——你保证会被录取。现在去办公室把需要的手续做完就可以回家，等秋天开学后来上课吧。

**********‘十年一剑’，中提琴不单是他的业余爱好，在关键时刻助他在众多竞争者当中颖脱而出，顺利地进入了心仪的常春藤大学。**********

学习音乐，终身受益！

Soaring songs from an orchestra you'll never forget

2012-04-08T20:13:00.001-07:00

Handel's Messiah

The Kimbanguist Symphony Orchestra is the only symphony orchestra in Central Africa and the only all-black orchestra in the world. Watch its volunteer musicians and vocalists perform "Handel's Messiah."

各种常用特殊音效免费下载网址（国内网址）/ 上万种顶级音效库、音源下载地址

2012-03-31T18:50:00.001-07:00

一、各种常用特殊音效免费下载网址（国内网址）：
http://www6.flash8.net/sound.shtml
http://www.xfbbs.com/Audio/
http://www.apoints.com/soft/music/
二、上万种顶级音效库、音源下载地址（需要安装eMule软件，部分需要用虚拟光驱打开）：
世界经典音效素材库（120张CD，共42G）：
http://lib.verycd.com/2005/10/12/0000069338.html
Sony Pictures Sound Effects Series 电影声音特效（共2.8G）：http://lib.verycd.com/2006/07/29/0000112822.html
顶级特效音源（共5.1G）：
http://lib.verycd.com/2006/09/09/0000119160.html
伦敦交响乐队打击音色库（共844M）：http://lib.verycd.com/2007/03/16/0000143219.html
效果天碟1（共403M）：http://lib.verycd.com/2006/05/28/0000104562.html
效果天碟2（共140M）：http://lib.verycd.com/2006/03/04/0000092817.html
东方R&B音源（共2.1G）：http://lib.verycd.com/2007/03/02/0000141714.html
Delta音效素材（共2.2G）：http://lib.verycd.com/2005/10/12/0000069222.html
音效库（共2.6G）：http://lib.verycd.com/2006/04/26/0000100482.html
Digital Juice Sound FX Library 顶级音效库（共1.3G）：http://lib.verycd.com/2006/05/14/0000102833.html
著名专业音效盘（共2.8G）：http://lib.verycd.com/2006/06/03/0000105341.html
SOUND IDEAS General 6000 系列全套音效库（共2.3G）：http://lib.verycd.com/2005/05/28/0000052065.html
索尼媒体音效素材（共1.7G）：http://lib.verycd.com/2006/08/02/0000113314.html
Sound Ideas 5000系列车轮音效库（共2.3G）：http://lib.verycd.com/2005/06/22/0000054897.html
好莱坞之巅音效套盘（5CD，共1.6G）：http://lib.verycd.com/2005/11/02/0000072556.html
Transacord音乐素材（共1.6G）：http://lib.verycd.com/2006/08/07/0000114325.html

关于校外课余活动

2012-03-29T20:41:00.001-07:00

在加国的中学生一般到高中的时候，会被要求在一年当中参加不少于40个小时的校外义工活动。许多同学届时就会到处寻找一个能够提供参加了这类义工活动证明的单位，以便完成这个指标。

其实学习了中、小提琴或其它的乐器之后，就可以参加一个社区青少年交响乐团。通过参加乐团的排练和演出（有公益类的演出），同学们不单可以‘学以致用’，也能交到一些‘志同道合’的朋友，并且在乐团处也可以得到一份参加义工活动的证明——如果表现很好的话，还有被提名

Ontario Medal for Young Volunteers 与 Ontario Volunteer Service Award 奖的申请，这对以后升学与找工作都会有帮助。

当然同学们参加了乐队的活动后，对与他们在学琴方面也是有推进的作用的。

在大多伦多地区有不少这样的乐队：

ONTARIO YOUTH ORCHESTRA 安大略青少年交響樂團

Chinese Artists Society of Toronto Youth Orchestra 多倫多華人藝術家中心青少年管弦樂團

Toronto Cultural Youth Orchestra

OCMS Youth Symphony Orchestra

Memorizing Music

2010-03-28T19:04:00.001-07:00

One of the greatest violin teachers of all time, Miss Dorothy Delay, once said that the best performers are the ones that can memorize the most details. Learning to strengthen the conscious memory is key to memorizing music, and thus becoming a great performer.

Traditional Method for Memorizing Music

Traditionally, memorizing music is done by playing through a piece repeatedly until it becomes automatic (rehearsal). Musicians who practice this way rarely attempt to put the music into their conscious or awake mind. Thus, the music only exists in the artistic and expressive part of the brain, or the subconscious. During a performance, when the pressure on the musician is great, it is difficult to stay in the subconscious, where the music was memorized. The brain goes “conscious” and the mind of the performer can go “blank”. This may contribute to musicians having “memory slips” during a performance.

The "Shadow Practicing" Method

Students begin by playing through a piece of music by memory without the instrument in their hands. When a mistake is made, they look at the music, repeat the passage 4 times while looking at the music and then 4 times (perfectly in a row) without the music. They then continue with the rest of the piece. Each time students go through this process their memory of the piece becomes more solid and reliable.
Musicians should perform the shadow practicing just before going to sleep. Some research suggests that the brain automatically rehearses what was done just prior to going to sleep throughout the night.
Students can actually say out loud the positions they are going to or from and yell out the orchestra letters so they are memorizing rehearsal spots as well. This develops a more photographic memory and a sense of where the hand will be sent so that the mind consciously knows the correct position of the arm and hand.

Through this process, the active memory becomes stronger and stronger – like an exercised muscle – and it becomes possible to consciously memorize faster. This allows music to be performed better as well, simply because the knowledge of the music is more secure. Shadow practicing forces the mind to work harder because the performer cannot hide behind the muscle memory or the instrument, but must rely only on brain power to reconstruct the piece. The arms and hands don’t just move subconsciously - the performer knows where they are in the piece at all times… almost able to write out the music. The improved confidence that "Shadow Practicing" builds, dramatically improves overall playing ability, lowers performance anxiety, and improves musicality.

Books on Memorizing Music

There are several useful books on memorizing music. Some of them are listed below...

Guide to memorizing music, by A. J Goodrich
Memorizing Music (Musician's Handbooks), by Gerald Cumberland
Practical music memorizing, by Raymond Townsend

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关于校外课余活动

Memorizing Music

Traditional Method for Memorizing Music

The "Shadow Practicing" Method

Books on Memorizing Music

專訪馬友友母親盧雅文頂級音樂家背後的推手‏