by Mário Vicente 马君皓
I played ‘A Time for Us’ from Romeo & Juliet (arr. by Marie Leloup).
Images from Franco Zeffirelli’s movie with Olivia Hussey and Leonard Whiting (1968).
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This recording is kept for historical reasons since it is not recent and I am practising & improving everyday. It is about the development process, not the actual technique.
I played a small étude by Maia Bang, from her Method for Violin which I have been following.
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This recording is kept for historical reasons since it is not recent and I am practising & improving everyday. It is about the development process, not the actual technique.
If you don’t get it, don’t bother — its for nerds anyway.
After a session, got into the car, turned the radio on and everything falls into place.
A remastered recording of Enrico Caruso on ‘E lucevan le stelle’ (from Tosca, Puccini).
I later made a transcription of this for violin which you can find here.
I have been feeding urban birds in my balcony for some time now, and I realized for the first time that what we savagely call celebration (the fireworks) must be terrorising every single soul that lives and breathes in a bush near a street.
We are so sophisticated in our psychosis. That is indeed a legitimate reason for celebration.
… if you are bound to the ground. Study this well, because this is a form of art when perfected by experience.
Sport is a form of expression of a performer who is also therefore an artist.
Oscar Langburne. The performative dream of a brand. The artistic dream of a sport.
There are a few reasons why we should admire young performers. I will give you a number of those in time. It is certainly a transient state, but not one without its merits.
Let us for now start with Joshua Galasse and let the argument be Mendelssohn’s Violin Concerto in E minor.
Returning to the beach after a long quarantine, I decided to express my mood in a video.
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Shot at Carcavelos Beach, Lisbon (March 2021).
Music by Tomaso Albinoni, ‘Adagio’ performed by Copernicus Chamber Orchestra (dir. Horst Sohm, excerpts).
For the instrumental version please refer to Tchaikovsky’s Swan Lake, finale.
Compliments of the Author 