Violinstudien = Violin Studies that they're literal violin study for various violinistic purposes for example, new repertory studies for an advanced researching projects, preparations for various instrumental exams, auditions or competitions, and important concerts appearances, etc. However, it is rather more academic than usual show-upped Solo Violin Masterclasses (more creative for urgent musical purposes with professors and more of immediate concert opportunities) because Professor Yair Kless allows his pupils to bring new repertories even for first reading to his Masterclasses and this Violinstudien. Those academic and artistic researchings are always progressed at the same time of concert performances, especially in the case of classical music, particularly for the violin music. Here's the actual program for the Violinstudien in Sindelfingen ;
Violinstudien by Professor Yair Kless and Eyal Kless (06 - 13 February 2016, SMTT / Schule für Musik, Theater und Tanz, Sindelfingen Germany)
Wolfgang Amadeus Mozart : Violin Concerto No. 4 in D Major KV 218
Johann Sebastian Bach : Partita No. 1 in B Minor BWV 1001
Naoko Matsui, Violin
Recently I was morbidly attacked by certain people as if I were "buying" concert performance opportunities or "taking over" others' concerts, I don't know why. Especially one of them clearly seems to be cheated or brainwashed by third persons who were jealous of me or any other normal classical music performers. Can you imagine? I don't know neither how to buy a concert opportunity nor an international music competitions nor their prices to buy nor such brokers yet, at all. If a musician "buy" their concert performance opportunity, they will no longer be eligible to attend any further music opportunities in legal terms. If you play any kind of concerts at any durations even at once but legally, you will be recognized such "buying" or "taking over" any legal concerts are actually and physically impossible. Anyway "buying" concert doesn't mean to pay off the further unwanted and invisible debts.
Increasing concert trips or being tired to forget everything can never be the reason of excuse the daily violin study or exercises. Although I begin studying the rests of new repertoires which I never brang even at their first lessons, I continue playing the concertos by Niccolò Paganini and works by Saint=Saëns for the coming concerts. Whether people appreciate me or attack me, my purposes of playing the violin will never be changed at any case.
When Professor Yair Kless invited me strongly but very sincerely to his "Violinstudien" in Sindelfingen (ontskirt city of Stuttgart) with giving me the same brochure of his "Violinstudien" three times in Berlin in three different days in end of last November (it was not joking at all), no longer I hesitated to attend there in this month. It was real Überraschung for me because I and Professor Kless recognized our "difference of music school and artistic stance" each other (I never cheat him, at all) during his first Violin Masterclass at Blackmore's Berlins Musikzimmer in end of last November. There, it gave us however, rather our certain new artistic (or a kind of "art-spiritual"?) connection (violinistico) than conventional antagonism (ex. a kind of "Oistrakhians" hated ancient pupils of Eto to commit me a masterclass fraud in Salzburg in Summer 2002, or a celebrated Wiener violin teacher hated Internationales Didaktisches Festival Cortinas to destroy my solo part score of Winter Concerto by Antonio Vivaldi which I actually used to prepare myself for the Abschlusskonzert with the orchestra on 16 October 2013, etc.). Anyway his methods which are completely new for me also work very well in my alone practice time at the same time of practicing accustomed system methods. Then, we immediately decided what to really study during "Violinstudien" days ; there I brought the 1st Partita by Johann Sebastian Bach with Professor Yair Kless which was only the one I had never studied among "Sei Soli" until the "Violinstudien", and the 4th Violin Concerto by Wolfgang Amadeus Mozart (few cadenzas choices and I prepare for both Joseph Joachim's and Léopold Auer's) with his son Professor Eyal Kless as one of the new concerto repertoire for me.
Although "Violinstudien" was too short for my real program, we studied them as intensive as possible. There I frankly impressed that Professor Kless wrote and wrote all of indications extreme-quickly without seeing his own scores, as if he were drawing without lifting his pencil on the music score. Nothing was unclear and I repeated my practicing. At his son Professor Eyal Kless' course I learned how to move for the realization-creations of the properest interpretation in each notes in the 4th Violin Concerto by Wolfgang Amadeus Mozart. Now I have conviction on myself that I can already give concerts with those worked program. Whether you believe or not, I was also continuing practicing 2 of Violin Concertos by Niccolò Paganini and Rondo by Camille Saint=Saëns during the "Violinstudien" in Sindelfingen.
For the violin, rivality is no reason.