Tuesday, November 24, 2009


I still remember the day i fell in love; the experience could not compare to any other. Trembling for my beloved, i glide a generous amount of rosin over my horse-haired bow. The warm summer heat envelopes my skin with a sweet caress. Closing my eyes, inhaling deeply, a symphony of smells arouse my mind: the varnished wood of my violin, morning's mist lingering in the wind, and a hint of cologne radiates close by. Feeling completely content, i slowly raise my bow 'til the very most tip hovers, awaiting my command, over the D string. On cue, a sensuous sound fills the air, winding and tumbling into every crevasse within range. A sudden impulse erupts through my veins, fueling my soul to take form into the phrases pronounced from the instrument. I play for him, and him alone; pouring out the deep and profound feelings etched within me, longing for their exposure. He beckons me, reaching out gently. Without hesitation, i lay the entrancing violin down and embrace my love. A kiss still tingling on my lips, i taste the tender adoration possessing his soul. Burning with desire, i study his features and absent mindfully compare them to that of my violin: a sturdy chin, tan complexion, long neck, and beauty beyond compare.                

Monday, November 16, 2009

Comparison: Violinist Vs. Tightrope Walker

Playing the violin while walking on a tightrope; now that doesn't constitute as something one sees everyday. Yet for others, playing the violin or walking the tightrope becomes an everyday experience. For example, the musical group Black Violin, have in a way "walked a tightrope" by their revolutionary outbreak of new sounds. They "break all of the rules by blending the classical with the modern" to create a unique, signature sound. Also, Freddy Nock, a Swiss tightrope walker has established a new world record by "climbing Germany's highest mountain on the wires of of a cable car without a safety harness". The 3,264 foot-long cable car line on the Zugspitze mountain" served as a balance beam for Nock in order to raise "more than $19,000 for the German charity 'Menschen fuer Menschen'". Even if Nock's act of kindness may seem irrational and insane to others, walking on a tightrope comes naturally to him. Essentially, violinists and tightrope walkers strike me as being extremely similar by both subjects requiring spontaneity and originality. Nobody can control your life in such a way the Nazi's controlled the media. People should realize that they don't have to live up to the expectations of others.          

Wednesday, November 4, 2009

I Blame it on the String

I will never forget the events which took place on my first day at UCF's Symphony Orchestra. I shudder even now at recalling the humiliation brought about by a single string. The humidity lingered so badly that day: it felt like a thick haze immersed the air making breathing unbearably difficult. I just knew that my violin's sound would become out-of-whack from being exposed to such harsh weather. Hastily, I strode toward the music building, praying that I wouldn't have to waste too much time tuning my instrument. Sure enough, as I unpacked my case, applied a generous amount of rosin to my bow, the violin groaned in protest to harmony. Studying my strings, I noticed how old and uncoiled my E string appeared, yet decided the medal could withstand a few more blows. Soon forgetting about the ghastly weather and the decrepit string, i become consumed in playing full swing with the orchestra. Mastering the articulations and bowing techniques involved with Tchaikovsky's Symphony no.4 in F minor required every shred of concentration. Fully focused on following the exact notes, I became so overwhelmed that I began to dig my bow deeper, and deeper into my strings until TWANG! In udder shock, I'm smacked right in the face with my E string. Dealing with the stinging pain on my face, I now had to deal with a new sensation developing in my eyes. Uncontrollably, tears began to cascade from my betraying eyes bringing all attention on me, a big weeping boob!                    

Monday, November 2, 2009

Passionate Playing

How exactly would society function if a certain characteristic known as "passion" did not exist? Would the Egyptians find the will to build the pyramids, or would Michelangelo feel inspired to paint the Sistine Chapel? Passion subsists as a vital characteristic when involved with life. According to Paula Harvey's article on Living a Passionate Life, "designing a passionate life includes being in integrity with yourself, your passions, your values, and with other people." So essentially, we would remain stuck in the "stone-age" if people did not lead a motivated life.

Music abides as an example of how passion influences the outcome of a violinist's playing. From the performing group, Celtic Woman, Mairead Nesbitt demonstrates this concept by her talent at fiddling. She plays with passion, and great enthusiasm that leaves audiences awe struck. Another violinist who plays with deep intensity stands universally known as Andre Rieu. He blows people away with his heart-felt compositions and his ability to conduct a full orchestra whilst playing along. Also, Lili Haydn's Biography describes how her "new sense of abandonment in her vocals match[es] the fire and grace of her violin." Her eccentric attire compliments her playing style as well as her undeniably shameless ecstasy of passion.

Substantially, having a passion for life can incorporate into having a passion in playing the violin. In the end, life constitutes as being constructed of people, nature, animals, and music(etc.) Without passion, music could never exist in life. Therefore, life would consist of dull, neanderthal-like activities, where as music calls for spontaneity.            

Wednesday, October 28, 2009

Narrative Blog on Violinist's Seating Order

Magazine Article:
A controversy has sprung-up pertaining to the seating order of the string section in orchestras. According to Jaime Weinman's article, many
violinists dislike the seating position involving the divide due to the crippling effect the technique has on the player's ability to hear each other. Concerning this debate, "Symphony orchestras have two separate violin sections, and there are two ways to seat them: all the violins on the conductor's left, or "divided," with the first violins on the left and second violins on the right.""The difficulties players have hearing one another on the Avery Fisher Hall stage make such adjustments especially challenging", explains a New York Times article, referring to Allen Gilbert's new seating arrangements.

Detached Writing Version
of Article:
The issue of where to seat the string section in orchestras has become a debatable issue. There subsist two different ways of arranging the string section. Some symphony's whom have experienced the "divided" concept proclaim to abhor the technique. The reason why involves the players having "difficulty
hearing one another [while] on the stage".

Human Scene:

On my way to recital, I notice a different car occupying the "reserved" parking space designated for the New York Philharmonic conductor . Still pondering the unexplained phenomenon, i stumble into the practice room to find a different man standing on my conductor's podium. Confused, i take my regular seat. Engaged in the process of unpacking my violin, i find myself being told that we now have new seating positions. Dumbfounded, i question the stranger as to why the sudden change and ask why he stands ever so aloofly upon my conductor's podium. He explains how he has taken over the previous conductor's position, and that he likes to have the string section "divided" on stage. Still frazzled, i decide to take my new seat on the other side of the Second Violins. As we begin to play, i notice an absence of sound from the seconds. Assuming that they must have missed their cue to begin, i peer over to see frantic bows flying up and down the strings repeatedly. In shock i abruptly stop playing, bringing the rest of my section to a stand-still.The new conductor lowers his baton bringing the rest of the orchestra to a dead silence. I tell the man how i can't hear the second's playing at all and that this set-up does not enhance our playing abilities. He simply shrugs and raises his baton. Outraged, i gather up my instrument, storm towards my car, and dial my conductor's number.