// Variations in A minor for violin and piano \\

Really though, the violin score is fantastic, and since the piano writing is on the level of like a Wieniawski or Bazzini show piece for violin and piano, than I understand it as more of accompanying the violin.

Hmmm,

And I was talking about when the piano has arpeggios, not the violin. That's after the spot with the violin arpeggios. It would be much nicer to expand that, and maybe just repeat the phrase you already have there one more time.

Other than that, very successful in what you were trying to accomplish.

Originally Posted by M_is_D

They do? Most performers I know disregard the markings that come with the music for their own, myself included. It's why I did it.

Hm. It could depend on where you are. I'm in the US, so that could affect it...

Originally Posted by IHoldThePenHaHa

Hm. It could depend on where you are. I'm in the US, so that could affect it...

Um... I disregard stuff all of the time.

Originally Posted by M_is_D

They do? Most performers I know disregard the markings that come with the music for their own, myself included. It's why I did it.

Wow, here in Texas, it is herecy to change dynamic marks..

FANTASTIC!!! Great piece. I think you used the violin in a great way, really showcasing the instrument. Also your variations were very good. I loved the overall build up of the piece. I was so relived when it picked up, it was a nice suprise. Maybe to many repeats, but overall fantastic piece.
Congrats!

Oh, thanks, I'm flattered ^^

Originally Posted by Corbin The Violist

Um... I disregard stuff all of the time.

The way I've been educated, you PLAY WHAT'S ON THE PAGE!!! If you don't, you aren't a worthy musician!!

*ahem* Anyway, that's how I learned, and I think that it should always be that way. Composers write all their markings for a reason, and when they do write them, you should play them. It's an insult to the composer not to! Granted, in things like concertos, often times classical composers will NOT write in markings so that the soloist can use thier own artistic interpretation, much like a singer, and in this situation, that would work just fine, but if you feel that something should be played a certain way (going back to the slur over the arpeggios), then WRITE IT!! Most performers are grunts, and will play something in a certain way if it is written that way. The worst that can happen is they can't play it the way it is written (in which case, why are they playing it??), and they would have to change it.

This piece reminds me of some of Tartini's work, which is a good thing

The crescendo of the violin difficulty throughout the piece I think is a very nice touch.

I'm not much in the mood to leave a long comment today, but I just thought I'd say that it's cool

Originally Posted by IHoldThePenHaHa

The way I've been educated, you PLAY WHAT'S ON THE PAGE!!! If you don't, you aren't a worthy musician!!

*ahem* Anyway, that's how I learned, and I think that it should always be that way. Composers write all their markings for a reason, and when they do write them, you should play them. It's an insult to the composer not to! Granted, in things like concertos, often times classical composers will NOT write in markings so that the soloist can use thier own artistic interpretation, much like a singer, and in this situation, that would work just fine, but if you feel that something should be played a certain way (going back to the slur over the arpeggios), then WRITE IT!! Most performers are grunts, and will play something in a certain way if it is written that way. The worst that can happen is they can't play it the way it is written (in which case, why are they playing it??), and they would have to change it.

I agree, this would make a good debate in the Composer's Headquarters Forum.

Originally Posted by IHoldThePenHaHa

The way I've been educated, you PLAY WHAT'S ON THE PAGE!!! If you don't, you aren't a worthy musician!!

*ahem* Anyway, that's how I learned, and I think that it should always be that way. Composers write all their markings for a reason, and when they do write them, you should play them. It's an insult to the composer not to! Granted, in things like concertos, often times classical composers will NOT write in markings so that the soloist can use thier own artistic interpretation, much like a singer, and in this situation, that would work just fine, but if you feel that something should be played a certain way (going back to the slur over the arpeggios), then WRITE IT!! Most performers are grunts, and will play something in a certain way if it is written that way. The worst that can happen is they can't play it the way it is written (in which case, why are they playing it??), and they would have to change it.

Don't get me wrong, I play what is on the page.

I'm not changing dynamics unless it is right too. Or will I change anything else if I want to or a conductor ask to.

Its just I'll change bowings, fingerings... mostly stuff that was edited in.

Also some things are played different than what is written traditionally.

For example, in the overture to Wagner's Die Meistersinger von Nürnberg, it is traditional to repeat one of the measures in the last 5 of the work. Why? I don't know exactly, it could have to do with harmonic reasons, or just something somebody tried one time.

If you listen to different interpretations of the same piece, you'll see what I mean, especially violin concertos or flashier works.

Most composers are the sticklers you proclaim them to be, and are more often than not, accepting to changes that benefit a piece.

As for the reason that you were "educated" that way... that's never a good reason to do something as a definite.