ムジークフェラインヴァイオリン教室のブログ

「ムジーク・フェライン・ヴァイオリン教室」 「講師 長谷川寛映」のブログになります。体験レッスン御座います。お気軽にお問い合わせ下さい。

Musikverein Violine Kurs

ムジークフェラインヴァイオリン教室

東京都大田区田園調布、世田谷区松原、武蔵野市吉祥寺、ヴァイオリン・スタジオレッスン
(出張レッスン:東京都・神奈川県・千葉県・埼玉県・新潟県)

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    こんにちは!講師の長谷川 寛映(はせがわ ひろみつ)です。
    私のヴァイオリン教室では、生徒様の気持ちを尊重し、暖かい雰囲気の基で指導をさせて頂きたいと考えております。
    どのような生徒様でも、正しいやり方で質の高い練習を心がけ、毎日練習をなされば、必ず素晴らしい演奏をする事が出来ます。

    老若男女、はじめての方からプロを目指す方まで、親切丁寧に指導させて頂いております。
    まずは、お気軽にご連絡ください!

    当ヴァイオリン教室のご案内

    当ムジークフェラインヴァイオリン教室は「東京都世田谷区・東京都大田区・東京都武蔵野市」
    「新潟県新発田市」でヴァイオリン個人レッスンをしています。
    レッスンでは、私の経験を、素直に伝えたいと思っております。
    ヴァイオリンの悩み、練習過程での不安など、お気軽にご相談ください。

    レッスン時間/10:00~22:00迄

    スタジオレッスン

    スタジオレッスン 詳しく見る

    出張レッスン

    出張レッスン 詳しく見る

    初心者からプロを目指す方まで

    ゆっくりとした気持ちで、楽しんで、興味を持っていただけたら幸いです。楽譜が読めなくても、全然大丈夫です。一緒に、ゆっくりと進みましょうね。
    ヴァイオリンのレッスンの事なら、ムジークフェライン・ヴァイオリン教室におまかせください。

    体験レッスンへ

    Bach Goldberg Variationen BWV 988 András Schiff C=256hz


    I retuned this from A=440Hz down to the Scientific Pitch C=256Hz


    "Since France has adopted a standard pitch, I advised that the example should also be followed by us; and I formally requested that the orchestras of various cities of Italy, among them that of the Scala [Milan], to lower the tuning fork to conform to the standard French one.

    If the musical commission instituted by our government believes, for mathematical exigencies, that we should reduce the 435 vibrations of French tuning fork to 432, the difference is so small, almost imperceptible to the ear, that I associate myself most willingly with this.

    It would be a grave, extremely grave error, to adopt, as proposed from Rome, a standard pitch of 450!!!

    I also am of the opinion with you that the lowering of the tuning in no way takes away the sonority or liveliness of the execution; but gives on the contrary, something more noble, of greater fullness and majesty that the shrieks a too high tuning fork could give.

    For my part, I would like a single tuning to be adopted in the whole musical world. The musical language is universal: Why then would the note which has the name ‘A’ in Paris or Milan have to become a B-flat in Rome?" -G. Verdi, 1881

     

     

    Bach - Violin Partita No. 2 in D minor BWV 1004 - Sato | Netherlands Bach Society

    ‘Sei solo’… you’re on your own? In the days before ‘AutoCorrect’, spelling was mainly a question of feeling, especially in another language. But what if Bach deliberately did not write ‘Sei soli’ above his six violin solos?

     

    What if he wanted to warn his soloist before sending them out on stage armed only with a bow, four strings and a few of his most difficult pieces in his head?

    Recorded on November 28th 2015 at the Oude Dorpskerk, Bunnik.

     

    Shunske Sato, violin

    Bach - Violin Partita no. 3 in E major BWV 1006 - Sato | Netherlands Bach Society

    Partita no. 3, performed by Shunske Sato for All of Bach, is not a stand-alone piece. Bach was clearly delighted with this partita, and particularly with the first movement.

     

    In 1729, Bach arranged this Preludio as an instrumental movement of a wedding cantata (BWV 120a) and as a festive overture at the start of the cantata BWV 29.

     

    Furthermore Bach himself copied a version of the whole partita on two staves, which could be a simple keyboard piece, or maybe a suite for lute or theorbo.

    Recorded for the project All of Bach 24th June 2019 at the Lichtfabriek, Haarlem.

     

    Shunske Sato, violinist

    Cornelius Kleynman ca. 1684, violin

    Bach - Violin Partita no. 1 in B minor BWV 1002 - Sato | Netherlands Bach Society

    Variations are placed explicitly in the foreground in Partita no. 1, performed here by Shunske Sato for All of Bach. It is the only partita in which each dance (each movement) is followed by a Double.

     

    These Doubles are not literal replicas, however.

     

    Bach continues working with the same harmonic material, but comes up with a different solution – for example with faster notes in the Courante.

     

    Recorded for the project All of Bach on 23rd June 2019 at the Lichtfabriek, Haarlem.

     

    Shunske Sato, violinist

    Cornelius Kleynman ca. 1684, violin

    Bach - Violin Sonata no. 1 in G minor BWV 1001 - Sato | Netherlands Bach Society

    The first of Bach’s six solo works for violin exudes the most calm. This Sonata no. 1, performed by Shunske Sato for All of Bach, is written in the key of G minor.

     

    On a violin, this key has a pure and stable sound, as the two lower strings (the G and the D) fit naturally in the root position triad without needing to use the fingers of the left hand.

     

    The sonority of these low ‘open strings’ reverberates throughout the whole sonata.

     

    Recorded for the project All of Bach on 24th June 2019 at the Lichtfabriek, Haarlem.

     

    Shunske Sato, violinist

    Cornelius Kleynman ca. 1684, violin

    Bach - Violin Sonata no. 2 in A minor BWV 1003 - Sato | Netherlands Bach Society

    In this Sonata no. 2, performed by Shunske Sato for All of Bach, Bach makes the unviolinistic violinistic, but also embraces what the violin does best anyway.

     

    Even the Fugue and the Andante sound completely natural here, despite their polyphony that is so difficult to play well.

     

    The Andante, in which the violinist accompanies himself with continually repeated notes below the melody, is a marvel of apparent straightforwardness.

     

    And the spirited Allegro with its echo effects sometimes appears almost ironic in intent, and is cut out for the violin.

    Recorded for the project All of Bach on 22nd June 2019 at the Lichtfabriek, Haarlem.

     

    Shunske Sato, violinist

    Cornelius Kleynman ca. 1684, violin

    Bach - Violin Sonata no. 3 in C major BWV 1005 - Sato | Netherlands Bach Society

    In this Sonata no. 3, performed by Shunske Sato for All of Bach, Bach appears to have been looking to Italy for inspiration.

     

    The mysterious first Adagio, for instance, seems just like the opening of the Adagio of the oboe concerto by Marcello.

     

    The monumental Fugue in this sonata is full of contrapuntal tricks. Although not exactly Italian, it has no German equivalent either.

    Recorded for the project All of Bach 23rd June 2019 at the Lichtfabriek, Haarlem.

     

    Shunske Sato, violinist

    Cornelius Kleynman ca. 1684, violin

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