Haydn

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Since I have my lesson tomorrow, I figured I should work on my song by Haydn. Unfortunately, I hate Haydn. There are so many things I’d much rather work on: open string bowing, scales, vibrato, Bach, stabbing myself in the foot with my end pin, etc. There is nothing I like about Haydn. Nothing. Haydn is torture. I’d rather go back to annoying Suzuki 1 songs than play Haydn. The two pieces I’ve had to play by him irritate the crap out of me at best and make me so bored I nearly loose consciousness at worst. Does anyone know how the heck I’m supposed to accomplish anything when every piece of me resists playing these songs?

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13 responses »

  1. Haytn Haydn? Sorry, terrible pun.

    No suggestions, unless you scribble out Haydn and write Bach over it?

      • Can’t hurt! I’ve been slowly finding books like these–but just like the ethnic orchestras and ensembles, they are slowly becoming more available and accessible–’bout darn time too! πŸ˜›

        • Now after today’s lesson the idea just seems silly. I feel like there are so many fundamental issues with my playing that it’s absurd to think about what kind of music I’m playing. We worked almost entirely on two things today: open string bowing and slides. We briefly touched on my Haydn piece which she said was “splendid” except for the part about me playing it too cleanly. Unfortunaty that is a very tidy way of describing everything that is wrong with my inborn personality — cautious, careful, restrained. Combine this with Haydn and you get just about the most sterile piece of music ever. Maybe with more emotional compositions it wouldn’t be such an issue but I’m sitting here wondering how much this will be an issue for me. I have this terrible fear that I could defy the odds and become a very technically proficient cellist despite my extremely late start only to discover that everything I play is dry and unemotional because of my personality.

          That sounds a bit melodramatic when I type it out but I can’t help but be concerned at least a little bit that everyone’s least favorite aspect of who I am will be what prevents me from ever being a good musician. By comparison what piece I’m working on just seems irrelevant. What does matter what pieces I do or don’t play when they’re so dry that they’ll never affect anyone emotionally?

          • Are you interested in becoming a soloist? I recall reading this a while back…

            http://www.cello.org/cnc/tim44.htm

            You have seem to have most of the characteristics minus the emotional part (as you describe yourself as being dry). Soloists are a special breed. You can still be an accomplished musician without being a soloist….

            But being melodramatic is emotional πŸ™‚ You just need to be in emotionally in touch with the music…

            btw… check out Steven Isserlis in this video…

            Very few people are that in touch with the music they are playing…

            • I don’t play everything as awfully as Haydn. I think a lot of it has to do with how much I dislike Haydn, now that I think about it — I’ve never once enjoyed listening to any Haydn piece. I probably play Bach the best actually and a few other Baroque composers, but that’s because the music really moves me. So, perhaps it’s just my problem with Haydn. It’s gotten a little better from practicing the last couple days, but it’s hard when the only emotion the piece itself elicits is annoyance.

              I highly doubt that even if I have/had the potential to be a soloist that I could ever get there. There are just so many difficulties to overcome as an adult beginner that it’s silly to think that far ahead. I’d love to (eventually) go back to school and get a degree in music performance, but that’s not very likely, so I’m hoping to figure out a way to replicate the education as best I can.

              • You don’t need to be a solist to be musically successful. I think most music grads don’t even have a career in music… but you never know till you try and you might be able to get a music scholarship…

                  • There are plenty of schools with good music departments and fine cello teachers. Music conservatories probably won’t give you the time of day, but as Yee said, most music grads don’t end up doing music and many don’t even end up doing anything related to music.

                    On the other end of the spectrum, there are many fine musicians that didn’t go to any of the Music conservatories at any level, nor the top music schools–they just went to smaller institutions–the “less prestigious” ones, and are still doing music full time.

                    • I think the biggest obstacle will be convincing a university to accept a post baccalaureate student. UC Davis, which has a much easier to get into music dept, doesn’t accept people with degrees for most majors. I think Sac State does, but they’re much more difficult to get into. Since I’m kinda stuck in this area and those are the only two universities it may not be an option for a really long time, if ever.

  2. Yeah, that can be an obstacle. But my suggestion is to just enroll and take a ton of music courses, then officially apply for the music school/dept. There are ways of getting around the system! πŸ˜€

    • I can take them at the community college (I’m currently taking theory) but it’s not so possible at the state school. And Sac City has no orchestra, which totally sucks. My teacher says in the future I could definitely play with UC Davis (she did in HS) but that may be a while from now. Or perhaps I could go crazy practicing and get an audition next fall… In any case what I have access to is from all over the place and kinda random.

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