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.

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Images from the movie ‘Mr Brooks’ (MGM, dir. Bruce Evans, 2007, excerpts).
Music from Antonio Vivaldi ‘Viola d’Amore’ (deranged excerpts).

A sensorial experiment. I am playing a violin exercise designed to confront the player with the same notes played in different ways. If in the begining there was just one note, then this must be how music came to be.