In this final part of our concertmaster conversation, David Danzmayr mentions that he sometimes steps back and leaves the orchestra to play segments of pieces alone, because thereare times that the conductor can just “get in the way.”
There is more to the Concertmaster’s job than just playing “all of the really tough solos.” In our second look at the Concertmaster’s position, ProMusica Music Director David Danzmayr begins to describe in more detail the role played by the person sitting at the front of the violin section.
A question that comes up from time to time at concerts is, “Couldn’t they amplify the (insert any instrument here) so we could hear it better over the orchestra?” In the latest edition of the podcast we talk about this subject.
Oftentimes it seems conductors are up there waving their arms, but no one in the orchestra is watching. ProMusica Chamber Orchestra Music Director David Danzmayr says looks can be deceiving – that there is a lot more communication going on than meets the eye – and it all starts with the Concertmaster.
ProMusica Music Director David Danzmayr spoke about how he deals with sleep…or the lack of it.
Dutch violinist Janine Jansen began violin studies at 6-years-old. Now 35, she has ascended to the ranks of the worlds finest violinists. Some have asked if she is there by choice, or has been pushed (some use the word exploited) by those around her.
In part two of a four part series, Classical 101′s Boyce Lancaster and ProMusica Chamber Orchestra Music Director David Danzmayr continued their discussion about what makes a great performance and recording…and which conductors do it best, in his opinion. This week we discuss Pierre Boulez.
There is a young lady named Emily Bear who has had the word prodigy attached to her name by many, but she’d rather you not.
The comment I hear most often, from both longtime classical music listeners and those who are either new or occasional listeners, is, “I don’t really know a lot about classical music, but…”