The Sound Post » violin

Exclusive Interview With Bridgid Bibbens

Ian — Sat, 28 Nov 2009 05:26:51 +0000

WOW! What a fun interview. I have got to say that it was truly a blast to shoot this one! As soon as I walked into the Wood Violin workshop and saw Bridgid sporting a Whitesnake t-shirt, and a spiked belt with a Viper axe under her arm, I knew this was going to be a trip.

In this Sound Post exclusive interview, “Go-To-Girl” of Wood Violins, Bridgid Bibbens, sits down with Ian to talk about how she transformed from being a school strings teacher to violin-rockstar and spokesperson for the Electrify Your Strings program. EYS is a string education initiative founded by Mark Wood, and it is quickly sweeping the nation.

Bridgid also details the process of making one of Mark Wood’s famous Viper instruments (and then proceeds to rock out with a familiar tune from Liverpool, England).

Be sure to check out the pictures and video below. Once the cameras stopped rolling we had a chance to play some of Wood’s instruments, and what a rush that was! It was undoubtedly some of the most fun I’ve had in a long… long time.

Exclusive Interview with Bridgid Bibbens from Ian Salmon on Vimeo.

For more information about Bridgid, check out her websites:

BridgidBibbens.com (MySpace redirect)
Facebook Fan Page
YouTube Channel

And be sure to visit the official pages for Wood Violins and the Electrify Your Strings program!

Official Website of Wood Violins
Electrify Your Strings!

4 Vipers ready to rock!

Joe, the man behind the construction of Wood Violins!

When the camera stopped rolling, I got a chance to rock on a Viper, I know what I'm asking Santa for Christmas

Ian, with members of the Wood Violin family, Bridgid and Joe

A great example of the custom artwork available with Vipers

Camera (wo)man Aimee, Ian, and Bridgid

Mark O’Connor Releases New String Method Books

Ian — Fri, 20 Nov 2009 16:31:25 +0000

Famed American fiddler Mark O’Connor has just released the first two installments of his new string method entitled The Mark O’Connor Violin Method. Savvy teachers will quickly find many similarities with the popular Suzuki Method.

Progressive repertoire, heavy emphasis on listening, and the sequential introduction of new techniques are all pedagogical practices which were first brought into mainstream string education by Dr. Shinichi Suzuki. His method’s followers will be happy to see that O’Connor’s system has been largely based upon these principles. During an interview with Laurie Niles, editor of Violinist.com, O’Connor acknowledges the similarities between Suzuki’s method and his own:

“I patterned my method after some of the great methods out there, especially Suzuki, because they introduced very young people to a sequence of tunes. That’s something that is also inherent in folk music learning, too.”

The method comes with a CD to aid the aural learning process (which O’Connor recorded himself). The fundamental difference in the O’Connor approach is the repertoire chosen for this process.

The method is already receiving critical acclaim. The New Yorker hails it as “An American grown rival to the Suzuki Method.” But don’t mount your horses yet, Suzuki teachers. O’Connor affirms that his intention was not to steal any thunder from the popular Japanese method. In fact, he sounds surprisingly like the late Shinichi in describing his aspiration: “Getting kids to fall in love with learning to play music is the great concern.”

Inside the first two volumes of the violin method books are much more than transcriptions of American folk tunes (some written by O’Connor). There is essentially a complete history of American folk music to accompany the physical learning process. Much of this history is neglected in public music education, something O’Connor hopes to change.

Imagine this: instead of variations on Twinkle, how about 11 variations on Boil ‘em Cabbage Down? Substitute Lightly Row with Amazing Grace, and Perpetual Motion with Hoedown. Have we really deviated so far as to feel like traitors of the Suzuki Method? I think not.

While some teachers have taken a quick (read: stubborn) defense to protect their beloved pedagogy from the competition of “another method,” I hope the majority of Suzuki educators can see the benefits of integrating the Mark O’Connor Violin Method into mainstream string education.

To say that it can be used as supplemental repertoire for Suzuki teachers would be putting it lightly. The two methods can be used in conjunction with each other. In test groups, Suzuki students have been very receptive to the repertoire and have embraced learning the American fiddle style. Is this style so different from the classical style taught through the Suzuki Method books? O’Connor does not think so.

“Ultimately, violin technique is the same, whether you are playing fiddle music, classical music, jazz or any style.”

So why not switch it up every once in awhile? If a student is noticeably bored with their current repertoire, or is in danger of losing interest altogether, why not give them something completely different? There is nothing wrong with a little more ammunition.

Follow the words of Laurie Niles, Editor of violinist.com:

“If you can’t go forward, go sideways for a while… Learn the same thing, a new way. Teach the same thing, a new way.”

Mark O’Connor talks about his new violin method in an interview with Violinist.com

Mark O’Connor discusses his technique with the New Yorker

Exclusive: Interview with Susan Waterbury

Ian — Thu, 29 Oct 2009 02:06:05 +0000

I had the pleasure of sitting down today with Susan Waterbury, Associate Professor of Violin at Ithaca College. In this Sound Post exclusive interview, Ms. Waterbury talks about the inspiration for her upcoming recital, the experience of collaborating with Jeffery Meyer, and the importance of musicians reaching out into their communities to spread their talent.

Susan Waterbury is Associate Professor of Violin at Ithaca College and a former member of the renowned Cavani Quartet. Waterbury has given masterclasses and recitals in major conservatories both in the US and abroad. She studied with Donald Weilerstein.

Check out her recital on Sunday November 1 at 4pm in Hockett Recital Hall at Ithaca College. Video after the link.

Exclusive Interview with Susan Waterbury from Ian Salmon on Vimeo.

Aaron Rosand Says Goodbye to His Guarneri

Colin Oettle — Fri, 23 Oct 2009 02:55:32 +0000

Violinist Aaron Rosand relinquished his violin in a London hotel last week after more than half a century with the instrument. Rosand sold the instrument because he “had” to; he wanted to ensure it will be played as he approaches his golden years—a contingency to which the Russian billionaire who bought the violin agreed.

Rosand says parting with the instrument “felt as if I left part of my body behind.” The Guarneri del Gesu was made in 1741, and previously belonged to violinist Paul Kochanski, earning it the nickname “ex-Kochanski.” Rosand spent his career with that violin, and says he sold it to make sure it continued to see the hands of capable violinists.

Although his performing days are waning, Rosand is staying involved with the arts—particularly his Alma Mater, The Curtis Institute of Music. Mr. Rosand has already donated $1.5 million to the conservatory after the sale, and intends to continue giving. The price tag of his instrument: $10 million.

Source: NY Times.

Hahn-Bin Gives Debut Violin Recital

Colin Oettle — Sat, 10 Oct 2009 19:28:38 +0000

Hahn-Bin, last year’s winner of the Young Concert Artists International Auditions, gave his debut recital at Zankel Hall last Thursday featuring an eclectic assortment from the violin repertoire. Known only by his first name, Hahn-Bin and his haircut have studied with violinist Itzhak Perlman for the past 10 years. His recital program included standards by Kreisler, Chopin, and Mozart, with contemporary selections by Schnittke, Cage, Lutoslawski, and Penderecki.

According to reviewer Allan Kozinn, the contextual jumps between each piece were somewhat jarring, but one could not deny the “distinct characterizations Hahn-Bin brought to each score.” He continued to compliment both his “rich, varied tone and his technical facility.”

For the complete review read the NY Times article on one of the newest up-and-coming violinists.