Boccherini Minuetto

[JeffD]

Technically its the third movement of Boccherini's String Quintet in E major, Op. 11, No. 5.

I have been working and working on this and last night played it, solo, in front of people for the first time.

Its probably one of the most famous of Boccherini's works you could play, which is good because its easier to enjoy something familiar, and its bad because many know how it goes, and will know immediately if I screw it up.

But I didn't. I got to the trio without any problems, sounding strong and confident. Down right musical. Someone who enjoyed Boccherini would have enjoyed my playing. But... at the trio I felt so much relief getting that far that well that I relaxed a bit too much and was not as precise on the beginning of the trio. I quickly recovered.

I got added attention (scrutiny) because I was the only mandolin in a long list of violinists. I was playing the L&H, which fit right in.

I was exhausted upon completion. Its amazing how much it took out of me. It took about 30 minutes to recover from that, what, almost 4 minutes of playing. Of course it has taken several months to get those 4 minutes down.

Its really not super difficult. Its in A and fits nicely in hand, nothing tricky or counter intuitive. Very pretty piece, very fun to play. Hard to do well of course, especially in front of folks who know music.

[Bruce Clausen]

Good on ya, Jeff. It's a good piece; many of us know it from the old Guinness film Ladykillers. There's a version in one of the Suzuki violin books. Are you playing from that, or do you do an arrangement that includes more of the harmony parts from the original?

Yeah, surprising how draining it can be to play a solo piece for an audience!

[JeffD]

The music I was given doesn't say where it was from, but I checked out the Suzuki violin version and it is just about identical. Some small differences in the third section is all. The part everyone recognizes from the beginning up to the trio is identical.

[Hany Hayek]

Congrats.

[Jim Garber]

Congratulations, Jeff. That is a real accomplishment. I have attempted this a few times and perfection is very difficult. That is why I admire so many of my friends who are classical players.

If it it the piece I think it is, I have a couple of arrangements, one in A major (for flute or violin and guitar) and another in D major. Can you post a pdf of the sheet music you used? Did you play it with accompaniment?

[JeffD]

The next mountain to climb: Vivaldi - Violin Concerto in A minor,RV 356 Op 3 No 6.

I went through the first part, the allegro, walking through the music while listening to Itzhak Perlman last night and I think I might could do it. I will let you know this summer.

[mandopops]

Yes, Contrats Jeff on the Boccherini.

The Vivaldi Op#3 #6, is the one I worked on w/ Mr. Vicari. It was tough, but doable. I had it ok for a while, but that was a long time ago.

Joe

[JeffD]

My violin teacher was doing double duty, fiddle teacher and a classical mandolin "coach" helping me break down and approach the music correctly, playing Mazas and Bach duets etc. She moved away and now I am on my own.

So until I find another coach, I decided to always have something to be working on in front of me.

A classical mandolin teacher would be great, but no-one near-by. At my level, with no serious performance aspirations, a working classical violinist who teaches would be perfectly able to be my coach. I have made inquiries out but so far no takers.

[Jim Garber]

One of these days you should come down to Carlo Aonzo Mandolin Workshop in New York. He is doing another one next month. In fact we did the Vivaldi A Minor and I played that first movement solo a few years ago.

[mandopops]

Yes, the same here as to the absence of Classical Mandolin interest. (Any players around Chicago?) I have pieces I pull out & play on my own from time to time. As for Mandolin activity, all roads seem to lead to Bluegrass, which I'm not knocking. I participate in that & some Blues,too.

Jeff, it's good you have the motivation to self-direct yourself.
Jim seems to keep his head in the game, as well.

Joe

[Jim Garber]

For a little while I actually had two good players pretty near to me who were interested in playing on a regular basis. They both got sort of busy lately and so did I. I am getting together with one tonight, so that is a good thing. At some point I may get both of them together to play some trios and then... who knows...

I just checked the CMSA listings and there are two groups in Bloomington, IL but that is a good 2 hours from Chicago. it is amazing that there is no group in Chicago.

[peterk]

Good going, Jeff.
As an adult (viz. middle age) perpetual student of violin, I gave two recitals in front of a narrow circle of other violin students, their parents, teachers and friends. So there I was, the only elderly adult performer amongst a bunch of kids and youngsters, most of whom played more advanced pieces than mine. Let's just say that I was so nervous that my dominant concern was not to drop the violin or the bow from my sweaty handhold. Well, I shredded RV 356 that night, and Massenet's Thais on another occasion, and never again shall I perform in a formal setting, be that on the violin or the mandolin.

[JeffD]

I hate performing. Not just for the nerves, but also because, for the most part, I am music centered not audience centered.

But... with this music I don't see any other way. If I work on it only for my own enjoyment, I get it to a certain fun level and no further. Without some performance in front of live people out in front of me, I have no motivation to get it any better. And the music really deserves better than I would do casually.

In addition, being such a contrarian, I like pushing an unexpected mandolin in front of people.

[peterk]

The next mountain to climb: Vivaldi - Violin Concerto in A minor,RV 356 Op 3 No 6.

I went through the first part, the allegro, walking through the music while listening to Itzhak Perlman last night and I think I might could do it. I will let you know this summer.

It is interesting to hear what various mandolinists make of the concerto. Even Julian Nunez has a nice Youtube recording of RV 356, although he tremolos thru the entire Largo movement which I do not like as much. (In my eyes that Largo is just about one of the most haunting music pieces by Vivaldi, and constant tremolo kind of "fractures" it a bit, and prevents it from flowing nicely. However, different strokes...)
http://http://www.youtube.com/watch?v=TUPOPEPrF7k

[Jim Garber]

Peter: The link the video doesn't quite work. Here it is. Actually the bandurria sounds quite nice tho I agree that tremolo is always best in small doses.

[Martin Jonas]

I hate performing. Not just for the nerves, but also because, for the most part, I am music centered not audience centered.

But... with this music I don't see any other way. If I work on it only for my own enjoyment, I get it to a certain fun level and no further. Without some performance in front of live people out in front of me, I have no motivation to get it any better. And the music really deserves better than I would do casually.

That's more or less why I try to practice every piece towards a recording -- there has to be some sort of end product or else it becomes aimless.

I've had a look at the Boccherini piece on IMSLP. There is a transcription of the original quintet version (a string quartet with two cellos) which looks playable if I could read alto and tenor clef well enough to play the viola and the first cello part from the IMSLP parts. There is also a string quartet version which combines the two cellos into one. There is a Boccherini arrangement for mandolin orchestra by Nakano, but it's a different (and much harder!) piece.

Martin

[peterk]

Thank you Jim for fixing that link.
Mind you, I have a high regard for Julian's craft, however, when it comes to interpretation choices, most people have their personal preferences, and probably that is a good thing in music.

As a related example from the violin world, at one time a perpetual vibrato or slides (portamentos etc.) were in vogue very much, however, there were also many dissenting voices amongst top notch violin performers, as well as period music performers. Today I see a trend where classical musicians use diverse flourishes with more discretion, and when either prescribed or otherwise warrantied.

[Tavy]

It is interesting to hear what various mandolinists make of the concerto. Even Julian Nunez has a nice Youtube recording of RV 356, although he tremolos thru the entire Largo movement which I do not like as much. (In my eyes that Largo is just about one of the most haunting music pieces by Vivaldi, and constant tremolo kind of "fractures" it a bit, and prevents it from flowing nicely. However, different strokes...)
http://http://www.youtube.com/watch?v=TUPOPEPrF7k

Actually I rather liked the use of tremolo there, then again I am a bit of a "tremolo monster"

[Jim Garber]

I thought his tremolo was very nicely done, which is to say, that I thought it worked well tho more often, if given the choice, I, too, would opt for no tremolo.

[peterk]

Actually I rather liked the use of tremolo there, then again I am a bit of a "tremolo monster"

John, given your tremolo predilection, I'd say you should consider moving your workshop to SW Italy, since the SW France region has already been taken by another British expat mandoluthier, where the friendly natives share your tremolo-or-bust passion.
Furthermore, they are probably in need of someone who can fix cartloads of old bb mandolins which are languishing in their homes and wood sheds, waiting for a miraculous resurrection.

[Bartk1448]

Hi. I'm in Chicago. I just started playing classical mandolin and mandola. I understand one can pay to play in an ensemble at Old Town School of Folk Music. I have not contacted them, but I assume they play folk music. I need to get a decent bb mandolin, but when I do, I would like to start a classical quartet or small ensemble. I was supposed to quote mandopops, sorry

[Pasha Alden]

Pleased to hear you mention Suzuki violin range. I am ordering those books in braille. Pleased that music is good to be played on mandolin.

[Pasha Alden]

Meant to say congratulations Jeff.

[JeffD]

Right now I would say about 75% of what I play is fiddle tunes, old timey, bluegassy, traditional this and that. And about 25% is trying to get some classical pieces down well.

If there were opportunity I would reverse the percentages.

My over arching philosophy is, first of all, that as long as I am playing the mandolin, its all right, and secondly, as long as its playing regularly with other musicians. Beyond that, its preferences in an already too blessed life.