Barbara L. Sand asked some of his ex-pupils whether their former master really lived up to his reputation Ivan Galamian arrived in the US in , having grown up in Russia and subsequently emigrating to Paris. Over the next 40 years, until his death in , Galamian became the most powerful and sought-after violin teacher in the country. Other students were winners of the Queen Elisabeth, Tchaikovsky, Carl Flesch and Wieniawski competitions - in fact all the international competitions of note.
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Barbara L. Sand asked some of his ex-pupils whether their former master really lived up to his reputation Ivan Galamian arrived in the US in , having grown up in Russia and subsequently emigrating to Paris. Over the next 40 years, until his death in , Galamian became the most powerful and sought-after violin teacher in the country.
Other students were winners of the Queen Elisabeth, Tchaikovsky, Carl Flesch and Wieniawski competitions - in fact all the international competitions of note.
But although such students ensured that his reputation as a great pedagogue remained unchallenged, Galamian also made his name as a teacher who could produce excellent results from less talented material.
Indeed, his teaching methods were envied and emulated throughout his career and, after his death, were perpetuated through the Meadowmount School of Music. Word of mouth via both parents and and teachers produced a constant stream of young hopefuls, and even after Galamian was appointed to the faculties of both the Juilliard School and the Curtis Institute in the mid s, most of his teaching continued to take place in his studio, In Galamian married Judith Johnson and in they established the Meadowmount School of Music in the Adirondack mountains, which was to become famous worldwide for its high standards.
David Nadien was one of a handful of violinists who lived with the Galamians while studying with the master. He later became concertmaster of the New York Philharmonic and held that post for some years before deciding to work as a freelance musician and teacher. It was a relaxed atmosphere and all of us had fun. Galamian had two beautiful boxer dogs that he was devoted to, and they were a big part of the household. At one time it seemed that somebody was stealing food from the fridge.
Galamian stayed up in the dark in the kitchen one night to catch the guilty party. One of the boxers had actually figured out how to manipulate the handle and open the fridge door!
The students who played best did not always do what he suggested, but if they sounded well he was wise enough to leave them alone. He taught by demonstration, and one had to use a grain of salt with some of the things he said. However, he gave me a general musical approach to understanding the repertoire, which I had not received from my previous teacher Adolfo Betti.
Galamian stressed warmth and good sound and unquestionably deserves a major place in the history of violin teaching. There was almost no room for give and take because he had a particular system that he applied to everybody.
Some of his greatness lies in the fact that he could teach anybody, no matter how talented or untalented they were, to play the violin very well. Some would be more inspired, some would be better, obviously, but they would all be proficient at what they did when they studied with him. He never threatened or cajoled - he had enormous presence. His basic feeling was that anybody could become a fine violinist.
The stage was already set in his studio, with photographs of Vieuxtemps and Corelli looking at you, He taught from 8am to 6pm seven days a week, and every lesson would last precisely 59 minutes - never more, never less. He taught his students how to make the violin soar over an orchestra. He was a man of quiet determination who had a constant work ethic.
But I remember one particular lesson in which I was having trouble with a passage in the Lalo Concerto. Can you tell me how I can make it better? Now I am older I think it is more important to find out what you are doing wrong than to play a piece 2, times and see if it gets easier. The two had a longstanding dispute over teaching methods in the early s, but Delay continued to speak of Galamian with great respect.
So there was that cultural difference between us. He preferred to work in straightforward ways on technique. His area of expertise was the bow and he was excellent with it. His students all had big, healthy sounds - and they were beautifully organised. For him, the key to technical proficiency is mental control over physical movement, but his is a flexible method with no rigid rules.
More important is that the teacher promotes the maximum musical and technical development in each individual.
galamian contemporary violin technique scales pdf shared files:
But I did wonder how many people were mystified by the Galamian scale system, so I will share with you what I shared with him. Yes, I practice these scales, I teach these scales and I highly recommend them. And another: They will help you avoid injury. I never met Ivan Galamian nor do I agree with everything idea he had or edition he made but I am grateful for the wisdom of his scales, as taught to me by three wonderful teachers and Galamian proteges: Jim Maurer of the University of Denver, the late Conny Kiradjieff of the Cincinnati Conservatory of Music and Gerardo Ribeiro of Northwestern University. I will tell you mostly about the three-octave scales, from Volume 1 , as this is a good starting point.
Galamian - Contemporary Violin Technique - Scales
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