7. Feb, 2017

Vienna Master Classes 2017

I found a curious but new music event in Vienna. Although their visual chronicles could be found on their website, only from before end of last year (2016) I could find them accidentally, but I don't know why. I remind that I registered myself there after serie of bizzare events in last year. Tripping to Vienna is always enjoyable and very comfortable and I was looking forward to learn more and play more also in Vienna, as usual. Here's the actual program in Vienna for this time ;

 

 

 

 

Vienna Master Classe 2017 (Violin Masterclass by Ulrike Danhofer at Musikschule Simmering, Vienna Austria 04 - 07 February 2017)

 

Niccolò Paganini : Violin Concerto No. 2 "La Campanella" in h minor Op. 7, 2nd and 3rd Mvts.

Niccolò Paganini : Violin Concerto No. 1 in D major Op. 6, 1st Mvt.

Sergei Prokofiev : Violin Concerto No. 2 in g minor Op. 63, 1st Mvt.

 

Goryo Goryokaku (五稜郭五稜), Violin

 

 

A bizzare question to me in Vienna ; why did I brought there my current Concerto program ? And people in the Violin Masterclass (included other pupils of Prof. Ulrike Danhofer) showed me my falsh program as printed registration form contents ; Violin Concerto No. 4 in D by Wolfgang Amadeus Mozart KV218, Violin Concerto in D by Ludwig Van Beethoven Op. 61 and Sonata No. 3 in A by George Enescu Op. 25. Indeed, I was working Violin Concerto No. 4 by Mozart with Professor Yair Kless and his son Eyal Kless from Sindelfingen, Violin Concerto by Van Beethoven with Professor Alexandre Brussilovsky in Hamburg and many attempts to play the Sonata No. 3 by Enescu have not been realized yet. No possiblity to know the cause of being shown such program for me for this time, whether I will wear the Court Costume / Dress on Stephansplatz or not yet.

I could not understand why Prof. Ulrike Danhofer told me about the descriptions of the interpretations of Violin Concerto No. 2 in g minor by Sergei Prokofiev Op. 63, as if it were about "landscape in Netherland (?!)" twice. Two of Russian students (behind me) loudly laughed my interpretations for this Concerto which I'm learning from Professor Alexandre Brussilovsky during ASAI's Violin Masterclasses in Hamburg. Though I asked her her reasons as my last question during this Masterclass, her explications were not enough clear and she denied what she explained me twice, finally. Then,

 

Ulrike Danhofer ; Arigato Gozaimasu ! Merci beaucoup !

Goryo Goryokaku ; Arigato Gozaimasu ! Dank u wel !

 

Now I wonder whether such my attempts for opportunities in classical music events in Violin in Vienna should be continued alone or with someone my allies because the actual geographic impressions around Vienna in classical music are enough different from which we hear in the reality. I think they should be worth not only during Summer time but also from now and other seasons.