They can be clockwork, which deems them just too perfect. Such as in this 2nd Waltz by Schostakowitsch.

I made a caprice based on the music ‘Saffron’s Curse’ by Cradle of Filth (album Midian, 2000).
Its called Saffron’s Caprice.

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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 made a transcription from the song ‘A Kiss to Remember’ by the doom & gloom merchants My Dying Bride (album ‘Like Gods of the Sun’, 1996).

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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 J. S. Bach ‘Air on the G string’.

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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 illustrate a typical training session which I structure in 3 parts:
1. warmup; I use it to practice critical or complex pieces that require several days or weeks to develop because in the beginning of the session I am still fresh and not tired.
2. current undergoing exercises; which if needed can be moved to part 1 to keep overall progress unimpeded.
3. motivational; in the end I reward myself with a new experiment or some piece I want to learn to play. No goals and no expectations. This is where I develop the ideas and performances I record in the other videos.

The background artwork is from Tiamat’s album ‘Wild Honey’ (1994) cover, which I consider a landmark in progressive death metal.

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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 made a short transcription from Mahler’s 5th Symphony (Trauermarsch) and named it ‘Funeral Caprice’.

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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 the Canon by Pachelbel (2nd half) with an excerpt from the BBC mini-series ‘Parade’s End’ (2012).

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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 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.

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.