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Re: Russianoff's students

Author: SecondTry
Date: 2024-06-29 21:58

You've claimed that your not offended by my post but lodge an insult claiming that my words have the effect of saying something while actually saying nothing at all.

Okay, then please clearly express:

1) What you think my words are trying to say and

2) Why they're not actually making the point that you think I'm trying to say.

Even if you truly believe this, I think that it's quite a stretch for you to infer that others draw this conclusion simply because you do.

I have a theory why you might conclude this. And that's that you make wrong assumptions, to which I will provide examples.

When I wrote that "there are cases where an auditioner would be wise to play (as if) markings similar to those used by artists sitting at the judge's table" this wasn't a critique of Russianoff ignoring said markings in a video I linked where he's coaching a specific undergraduate student: that's your wrong assumption.

To answer your question as to 'what led me to think about orchestral auditions based on this video and whether Russianoff's advice would translate to audition success in 2024?' your answer is "I didn't."

What led me down this road wasn't this video but the fact that a fair number of people holding professional positions were once Russianoff students, who had to play in ways at auditions to please specific judges, which speaking first hand, Russianoff was keenly aware of and not only advocated the opposite to those student to what you see in that video, but suggested that those students also FWIW, study music education as a backup plan.

Next your critique this as untrue:

"Of course Russianoff is not Gilad of the Colburn school, and Gilad perhaps is more a master class type teacher, not one who works on fundamentals.."

citing examples where Gilad took his students "back to basics."

There's your reading comprehension again Bryan. My point, which I stand by, wasn't that Gilad didn't at times focus on all aspects of play but far more spent his time, compared to the more rudamentary teachers of his students that preceeded him, and as I believe he should, honing students mastery of the materials to get a job rather than (speaking in metaphors) the "missing sharp in measure 12 of Bearmann exercise 172, that the student not only already knew about, but even informed their students of."

I never said or implied that Gilad didn't do fundamentals.

The fact that you provide examples to retort that which I never claim suggests that you don't get my point that such areas of study where more (not absolutely, just more) the realm of teachers prior to Gilad who brought their students to a level in which they were good enough to work in Gilad's studio.

"One of your students?" Can we agree that your sample size is limited?

As to your statement:

"At one point in your career you're learning. At another point, you're ready to take auditions.

I'd like to add my critique.

These steps are not serial but fluid. You don't from Thursday to Friday transition from learning to focus on audition. You never stop learning. When you play to groups you never stop "auditioning."

And if your career (I think you mean the role of student) is performance professional you didn't get there showing those hiring you how many hours you learned. You tooted your horn.

So, when Rusianoff suggested that I listen to the performances of certain pieces by certain artists, even as a student, do you think he meant this an example of what not to do, of how I should ignore these interpretations like the markings he suggests a budding student in a video for now ignore to promote artistry?

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Russianoff's students new

Le9669

2011-09-02 04:30