2011
-Research project and chamber music coaching at University of Hawai at Maenoa (2011)
22nd November 2011- Debut at Weill Recital hall, Carnegie hall New York.
-Ensemble Wien-Helsinki performing in Finland spring 2011
The concerts are kindly supported by the Austrian Embassy and the City of Helsinki
-Emäsalo music festival & summer courses summer 2011
-Concert tour in US together with Oliver Kern fall 2011, including debut in Carnegie Hall
The Carnegie Hall concert is kindly sponsored by the Alfred Kordelin foundation.
-Recording music for violin & orchestra by Camille Saint-Saëns in Vienna (Centaur Records)
-Commissioning work for violin & orchestra by composer Jimmy López
2010
-Recording music for violin and guitar 2010-2011 (Classic Concert Music Group, Salzburg)
-Lecture concerts: 13th May 2 p.m. Aino Ackté house, Helsinki
18th July 2 p.m. Cygnaeus Gallery, Helsinki
21st September 5.30 p.m. Pasila Library, Helsinki
-Public examination of demonstration of proficiency for the Doctor of Music degree 14th May, Wegelius Hall 3 p.m. Sibelius-Academy
8.10.2009 / 7:30 PM, Konzerthaus Wien,
Austrian Chamber Orchestra
Shahrdad Rohani, Conductor/Arrangements
Linda Hedlund, Violin
Commissioning work for violin & orchestra by composer Jimmy López (2010)
Recording music for violin & orchestra by Henri Vieuxtemps and Ernest Chausson (2010) Recording music for violin, cello & harp, August 2010
Public defence of doctoral thesis spring 2010 (TBA Sibelius-Academy)
Lecture concert fall 2009 (TBA Sibelius-Academy)
The Franco-Belgian school of Violin playing - Tradition and Method”
Cygnaeus Gallery, Helsinki
Summer Academy for Strings in Vienna 2009 (Hietzing), August 31st - September 7th, An Intensiv course for Violin, Viola, Double Bass and Chamber music. For more Information please visit:
Spring 2009:
New CD production! A Madrigal Opera by Philip Glass for 6 voices, violin and viola
Summer and Fall 2009:
Teaching projects: 22-26th June Emäsalo Summer Academy
Lecture Concert Fall 2009 Helsinki (Sibelius-Academy)
Spring 2010:
A study on
French-Belgian Violin School – Performance Practice at the Beginning of the 20th Century
This study focuses on recordings of four of the principal representatives of the Franco-Belgian violin school and changes in violin technique and performance practice as reflected on these recordings. Classical music has formed an important part of the recorded repertoire since the early years of the recording industry. Even in the field of classical music, the recording industry began to document and influence musical practices. Although the main emphasis of classical production was on opera singers, record companies have systematically recorded the most important violinists of the 20th century, beginning with the much-discussed recordings of Joseph Joachim (1903) and Pablo de Sarasate (1904).
Historical recordings can be seen as an important element in musical research for the period extending from late nineteenth century to the Second World War. Recordings reveal in a significant way performance practices of the early twentieth century and changes in styles over the years. Although no significant violin recordings were made before 1900, recordings nevertheless document the playing of violinists whose style had matured much earlier. This era is characterised by considerable developments in the fields of science and technique. Thus this enhancement is also reflected in music and art. The development in violin performance during this era can be seen as a time when more emphasis was placed on the quality of sound and style. The virtuoso style of playing the violin that had developed during the nineteenth century had reached its culmination and the violinist’s technique and performance began to be considered from other angles. Physical and
psychological questions concerning the violin profession are examples of fields where specialisation took place. The purpose of this study is, to illustrate through historical recordings, articles and literature from this particular period, some aspects of changes in violin performance practice in comparison to notated sources.
The main aspects of research are the concepts of rhythm and tempo as well as technical aspects including vibrato, portamento, articulation issues and the quality of sound. Historical recordings provide a clear picture of how these issues relate to what has been notated by the composers. The performances of the early twentieth century give an impression of being more spontaneous and almost improvised in comparison to what we hear today, where every detail is accurately performed and deliberate.
My intention is to present an analysis of changes in performance style. I have concentrated my research on French violinists and representatives of the Franco-Belgian violin school and French music. The comparison has been made using transcriptions of recordings following the model presented by Robert Philip in his work Early Recordings and Musical Style, Cambridge University Press 1992. Four of the most important violinists whose recordings have been discussed in this work are Eugene Ysaÿe (1858-1931), Carl Flesch (1873-1944), Jaques Thibaud (1880-1953) and Christian Ferras (1933-1982).
Keywords: performance practice, Franco-Belgian violin school, historical recordings