Review of Harold Robinson Class of Feb. 25, University of Maryland
The class was well attended! Glenn Dewey brought quite a few students from George Mason University, and Jeff Weisner was accompanied by students from Peabody. Thanks to you guys and the rest who dropped in!
Ben Silverman played Koussevitsky's Humoresque and the scherzo portion of the third movement of Beethoven's Fifth. For Kouss., the emphasis was on fingering fundamentals, especially, with regard to notes in the harmonic series on the G string. Legato playing was further explored with an eye toward understanding how weight is applied to the string (back and arm, usually through a front-loaded first finger of the hand). Insight was shared as to vibrato, with examples of which fingers are good for it and how sometimes it's beneficial to "double pad" (as Hal refers to it). This means to increase the amount of flesh which touches the string by allowing the primary finger to be assisted by the next closest finger above it. (Used to widen first and second finger vibrato.)
Lindsay Walters played the first movement of Vanhal's concerto and Strauss' Don Juan. With Vanhal, Hal touched on how important it is to free one's self from the music by memorizing it. He suggested that some passages typically thought best played off the string actually work better played on. For Don Juan, Hal offered that the triplet eighths might work better on. A good point was that, when playing spiccato, one also risks sacrificing control over the note because of lost contact.
Kevin McGovern played Glière's Intermezzo. (Sorry Kevin, camera malfunction!) Emphasis was on legato playing and properly executing shifts. Also, that it's important to let go and let it flow, musically.
Throughout, Mr. Robinson demonstrated his own refined musical taste. When playing examples, his tone was beautiful and his vibrato always appropriate - never too fast nor too slow. It was also clear that he enjoyed the connection with his audience and invited their participation.
Afterward, Hal and I were able to reminisce about the old times when he was in the NSO over a couple of enchiladas at my favorite Mexican restaurant.
Thank you, Hal!
Julie Wagner played Bottesini no. 2 (first movement) and Mozart 40 (first movement). Most notable was Hal's insight as to style for the Mozart. The emphasis was on doing what is musically natural and simple. Specifically, there's no reason to put big vibrato on the quarter notes when the basses (and cellos) get the theme. Also, not to make too much of the eighth note runs that follow, but to hand the limelight over to the upper strings who answer.