April 28, 2016
Stay Thirsty Magazine
Violinist Rachel Barton Pine on Rachel Barton Pine and Bach
by Rachel Barton Pine
St. Pauls UCC: My Sacred Space for Bach
“You must practice Bach. It is the music of Gott!” Thus, I was regularly instructed by the elderly German ladies at St. Pauls United Church of Christ in Chicago, the church in which I was raised, during my earliest years as a violinist.
I was fortunate to grow up at St. Pauls, a church with a deep dedication to music. The church has been a spiritual home to opera singers and members of the Chicago Symphony Orchestra. Oratorios, cantatas, and other choral works of the great classical composers are often performed as part of the service, and the music of Bach is celebrated above all others. The sanctuary itself even features a stained glass window of Bach. I have vivid memories of spending Sunday mornings surrounded by the glorious sound of Bach’s Toccatas and Fugues on the organ.
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August 28, 2014
Next Level Violinist
Keys to Success
by Rachel Barton Pine
I am a professional practicer. It doesn’t sound as glamorous as “concert violinist.” If I’ve done my job, all anyone will ever think about is the time I’m on stage performing. No one will even be aware of the 35 hours or more of practice logged before I ever arrived in town to rehearse and perform that 35 minute concerto. The reality is: if you want to be a professional performer, you have to train to be a professional practicer. I love to perform and share my art with others, so that’s what I am – a professional practicer.
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January 25, 2014
The Straud
My violin heroin Maud Powell
by Rachel Barton Pine
It is appropriate that Maud Powell, the first violinist to record a real violin with a recording horn, is being honoured at the Grammys in the same year as Emile Berliner, the German audio pioneer behind the gramophone. Previously, violinists had had to recored on a Stroh violin – basically a violin fingerboard with a metal recording horn protruding from it that served as the sound box. Physically it was awkward to play because it was so unbalanced, and it was Maud Powell who insisted that someone figure out how to record a real violin. Because of her status she was taken seriously, and in 1904 she went into the studio with her violin and became the Victor Company’s first recording star.
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July 21, 2013
Ravinia Magazine
The Paganini Caprices: A Lifelong Journey
by Rachel Barton Pine
“To all the artists” – not to just one individual, nor even “to all the violinists,” but “to all the artists” – this was Paganini’s dedication on his 24 Caprices for solo violin. His choice of dedicatees reveals an often overlooked, perhaps at times ignored, depth of musical integrity and substance at the core of the man and his Caprices. It is Paganini’s inherent musicality that has always been at the heart of my relationships with this artist and his works.
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September 28, 2011
The Strad
Power Studies
by Rachel Barton Pine
‘You’re playing it like an etude’ is a statement that elicits thoughts of mechanical emotionless and generally unmusical playing. Most students of classical violin have heard their teacher utter the phrase at least once, and I’m no exception. Roland Vamos said it to me during one of my first lessons with him. and, even at nine years old, I knew it was bad. On that occasion, the music he was pushing me to phrase and interpret wasn’t Mendelssohn, Bruch or Paganini, but the fourth etude from 60 Studies for the Violin op.45 by Franz Wohlfahrt.
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December 9, 2009
Decibel Magazine
The Top Five Most Metal Pieces of Classical Music
by Rachel Barton Pine
What is “metal?” A quick search on Wikipedia tells me it’s “a thick, massive sound, characterized by highly amplified distortion, extended guitar solos, emphatic beats, and overall loudness;” as for Grove Music Online, academia’s musicological bible, the entire genre is generalized as “distorted guitar ‘power chords’, heavy riffs, wailing vocals and virtuosic solos by guitarists and drummers;” and in most online dictionaries, metal is just “loud and harsh sounding rock music with a strong beat.” These definitions are clearly insufficient. Metal isn’t limited to particular chords, certain instruments, or even a minimum volume level. It’s about the attitude of the musicians and the feeling of the listeners – metal grabs you by the throat, hits you in the gut, tears you down, lifts you up, and makes you feel ALIVE.
So where does metal end and “classical” begin?
March 29, 2008
Whipping up a Batch of Tasty Practice Sessions
by Rachel Barton Pine
INGREDIENTS:
1 string player (any size), 1 string player’s brain, 1 notebook, 1 pen or pencil
SERVES:
The string player, the string player’s teacher, and audiences everywhere
1. Choose a time commitment for daily practice.
Begin by thinking very carefully and realistically about all of your activities and commitments. Determine your priorities, and think creatively how you might organize your schedule to free up a little extra time. Based on this evaluation, decide how many hours you will commit to practicing every day.
2. List your assignments for the whole week.
List in your notebook everything you need to practice in the coming week. The list should include your new solo repertoire, your review pieces, your orchestra pieces, your chamber music, and your technical work (scales, etudes, and exercises).
3. Create a practice plan for the week.
Decide how often you need to practice each piece or exercise. Some items on your list will need work every day, while others can be rotated to alternate days or practiced twice a week. Then assign each piece to specific days of the week. When you have finished, check to be sure that your repertoire is distributed evenly throughout the week.
4. Create a plan for each day.
Next, decide how much time you need to spend on each piece each day, considering its level of difficulty and your priorities. Your brain and muscles will need to be refreshed every so often, so don’t forget to schedule breaks. At the end of your practice session, you may reward yourself with a little “free-choice time” by playing a favorite review piece, jamming on a fiddle tune, or experimenting with a rock improvisation.
May 15, 2007
American String Teacher
Getting the Most from Your Competition Experience
by Rachel Barton Pine
Over the years, I have been asked countless times for advice about competitions and auditions. The following is a compilation of my observations as a competitor, teacher, and adjudicator. I’m delighted to share them with all of my colleagues at ASTA, and I hope that they are helpful for you and your students.
May 19, 2005
by Rachel Barton Pine
Strings Magazine
Rachel Barton Pine shares her knowledge on how to best find and develop your musical voice and identity.
Over the years acclaimed concert violinist and recording artist Rachel Barton Pine has amassed a wealth of knowledge.
CONCENTRATE. Many people think putting in hours practicing is what it takes to become a good musician, but just logging the hours without it being good practicing won’t get you very far. America’s first great master of the violin, Maud Powell (1867–1920), wrote a wonderful article on practicing in which she advocated concentration and consistency. Concentration means focusing on what you’re doing at the moment, as well as planning your practice sessions and being goal-oriented. When I practice, I like to use the un-American theory of “guilty until proven innocent”: Treat everything you do with suspicion. Check it all—intonation, tone quality, cleanliness, musicality—and don’t wait until a mistake gets your attention because you might not catch that mistake. In terms of consistency, practice the same amount of time every day, and pace your practice intelligently.
