#eugene drucker

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Emerson String Quartet - Haydn's String Quartet Op 33 No. 5: Scherzo, Beethoven's String Quartet Op. 130: Presto, Walker's Lyric for Strings, Ravel's String Quartet in F Major

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El Arte de la Fuga, de Johann Sebastian Bach (1751, obra póstuma). Versión de Emerson String Quartet: Eugene Drucker y Philip Setzer en violines, Lawrence Dutton en viola, y David Finckel en violonchelo. Incluye una versión de la cantata “Vor deinen Thron tret' ich”, BWV 668a (2003).

[larryland]

Bach at New Year's 2016-2017 as Kenneth Cooper directs with Eugene Drucker, violin

Bach at New Year’s 2016-2017 as Kenneth Cooper directs with Eugene Drucker, violin

Founded by harpsichordist Kenneth Cooper, the Berkshire Bach Ensemble is one of America’s most dynamic chamber ensembles. This year Bach at New Year’s will take place on three different dates and locations. This traditional series will begin on Friday, December 30th at 7:30pm at the Acedemy of Music in Northampton. Then, on Saturday, December 31st at 6:30pm it will move on to the Mahaiwe…

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[classicalclassroom]

Classical Classroom, Ep. 152: Emerson String Quartet. 40. | Houston Public Media

Like Adele but slightly older.

As of 2016, the Emerson String Quartet has been around for 40 years. For comparison, here is a brief list of other awesome things that have been around for 40 years: Benedict Cumberbatch, The Muppet Show, the movie Rocky, the Blues Brothers, Big Red Gum, the game Whack-a-Mole, VHS tapes, and the Ramones’ debut album. In this episode, Emerson violinist Eugene Drucker talks about what it means to play for that long with the same musicians, about what has changed over the years, and about Emerson’s new 52-CD box set.

Music in this episode (all from Emerson String Quartet – Complete Recordings On Deutsche Grammophon):

String Quartet No. 14 in D Minor. Franz Schubert.

String Quartet No. 11 in F Minor. Ludwig van Beethoven.

String Quartet No. 1.  Béla Bartók.

String Quartet No. 17 (“The Hunt”). Wolfgang Amadeus Mozart.

Symphony No. 15. Dmitri Shostakovich.

3 Madrigals. Bohuslav Martinů.

Lyric Suite. Alban Berg.

String Quintet for 2 violins, viola & 2 cellos in C major. Franz Schubert.

Audio production by Todd “The Arthropod” Hulslander with assistance from Mark DiClaudio and blitzkrieg bopping from Dacia Clay.

[berkshirereview]

The Concerts at Camphill Ghent 2016 - 2017: Season Opening Concert Coming Up, October 15, 3pm

The Concerts at Camphill Ghent 2016 – 2017: Season Opening Concert Coming Up, October 15, 3pm

  The Concerts at Camphill Ghent 2016 – 2017: Season Opening Concert Coming Up, October 15, 3pm Artistic Director Gili Melamed-Lev A relatively new chamber music series in our area, The Concerts at Camphill Ghent, extending through the rather sparse autumn through spring months, has just recently come to my attention, and it looks well worth a season subscription. Every concert is compelling, and…

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Avenging father, violinist plays music Nazis shut down

Jewish musician performs concerto in Ra’anana that the Third Reich prevented his father from completing in Cologne in 1933

Over 80 years later, violinist Eugene Drucker finishes the concerto his father was unable to finish himself when his performance was cut short by Nazi interruption. This article tells the compelling story of a son’s passion to avenge his father and the beautiful music that helped him achieve that goal.

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© Copyright Pete Checchia Photography

12-22-14 Chamber music coachings at Manhattan School of Music Manhattan School of Music for Mannes College The New School's New School Concerts Department.

Melissa Reardon, Frank Morelli and Eugene Drucker. 

Conductor and music director Jaime Laredo leads the New York String Orchestra Seminar as they gear up for two Carnegie Hall performances:

Wednesday, December 24, 2014 | 7 PM

A New York City holiday tradition for more than 40 years, young musicians who are participants in the New York String Orchestra’s annual seminar make Christmas Eve very bright with their radiant concert. This year, they perform an all-Mozart program that features the bubbly overture to his youthful opera The Impresario, his effervescent Oboe Concerto with Liang Wang, and the Symphony No. 39—one of his miraculously crafted final symphonies.

Sunday, December 28, 2014 | 2 PM

This concert by the New York String Orchestra bids a romantic farewell to the old year with Tchaikovsky’s melodic Serenade in C Major for Strings, Beethoven’s beloved “Pastoral” Symphony, and Barber’s romantic Violin Concerto with Augustin Hadelich, who “performs like a musician who takes nothing for granted, communicating an expressive, joyful spontaneity” (The New York Times).

New School Concerts Department celebrates the 45th Anniversary of the New York String Orchestra Seminar. The program will bring 47 string players and 16 wind and brass players and 1 timpanist ages 16–23 to New York City from December 19 to December 28, 2014.

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Practicing tips from Eugene Drucker

Eugene Drucker, violinist and member of the famous Emerson String Quartet, gave a violin masterclass at my university today. Here are some of the tips he passed along!

- Practice in front of a mirror. See yourself and your playing from an outside perspective in order to objectively analyze your work and engage in problem solving to improve your playing, both technically and musically. In essence, be your own teacher. Rote repetition will only get you so far. - Along those same lines, audio and/or video recording yourself is good too. Play it back and analyze it without focusing completely on being disappointed at how much it sucks (my words, not his). Mr. Drucker advises students to record themselves, and analyze the recording together with their teacher, who will be able to point out things the student doesn't notice. - When trying to work on bow-hand technique and left hand technique separately, isolate one by giving the other an easier task to do. For example, when practicing a technical passage, bow it in slurred groups so you can focus on the placement of your fingers. When practicing bow technique, one thing that can be done is to just bow the open strings of the corresponding notes. Mr. Drucker does note that this can sort of be difficult to do without writing out the open strings on staff paper. - When on stage performing a difficult passage you know you've had trouble with, Mr. Drucker advises identifying one main spot around which to structure your playing (in the technical sense, not the musical/phrasing sense), such as a high note that you know you'll be returning to. Use it as an anchor point for all the technical things that happen around it. - When learning a fugue (e.g. Bach fugue) be sure to focus on the movement of the new voices that pop in, and direct the listener's attention to them, such as when the voice is the lower part of a chord (don't let the high notes of the chord overshadow the note that belongs to the fugue's line).